ng your story and making your meaning clear to the spectator. On
the other hand, see that you _omit nothing_ that will tend to produce
the same result.

Going back to the example just given, we would point out that we
purposely introduced into it an example of what _not_ to do. Scene 3
is described as the "exterior of bank _on street corner_." That is
something that it is best to leave entirely to the director. Let him
do the locating of all the buildings used in a story, unless there is
an exceptionally good reason why you should specify just where a
certain building ought to be. The chances are that there is no special
reason why the bank in your story should be located on the corner of
the street, and the director might be able to locate a bank suitable
for the purpose of the scene in question within a block or two of the
studio. If there is a really important reason for having the bank on
the corner, he may have to go a mile or more away from the studio to
find one; and, inasmuch as it is frequently the case that the director
will take his cameraman and the necessary actor or actors out with
him, and do such a scene as this one outside the bank while another
set is being built up inside the studio for him to work in, it will
easily be seen that the more you can help him out by making things
convenient for him the more likely he is to express a desire to
examine other stories written by you.

This point will bear repeating: A scene is so much of the entire
action as is taken in one place without stopping the camera; in its
photoplay sense, _scene_ never refers to the action between certain
players, nor does a new scene commence when another character enters
upon a scene already in course of action.

It is a mistake, in working out the scenario, to keep the action in
the same setting too long at a time. Frequent changes of scene are
advisable. In his article in _The Photoplay Author_ for March, 1913,
Mr. C.B. Hoadley tells of a script written by a well-known actress who
is also the author of several successful "legitimate" dramas. Having
appeared in a notable picture drama, she determined to take up
photoplay writing herself. Her first effort--a comedy drama--was
returned. The lady was highly indignant; yet the reason for the
rejection of her script becomes apparent when it is known that the
entire action of her story occurred in a hotel corridor and in a room
in the same hostelry. Only nineteen scenes were used, a