FREE BOOKS

Author's List




PREV.   NEXT  
|<   123   124   125   126   127   128   129   130   131   132   133   134   135   136   137   138   139   140   141   142   143   144   145   146   147  
148   149   150   151   152   153   154   155   156   157   158   159   160   161   162   163   164   165   166   167   168   169   170   171   172   >>   >|  
lanning your scenario remember that for scenes that do not positively demand indoor settings it is best to provide an exterior background, or location. No matter how well provided with scenery a studio may be there is always a certain amount of time lost in erecting sets. Even though the director does not take the scenes in the order in which they are written, he will be able to save a great deal of time if, between the scene that is done in the library and the one enacted in the court-room, he can take his people out and get three or four, or even more, scenes in the open air, where the setting is ready for him. Carefully plan every scene _before you write it_, and see, for instance, if Dick could not propose to Stella in the garden, or on a bench in the park, just as well as he could in the drawing room or in the ball-room. Help yourself to more sales by helping the director to easier work. _Human Interest._--In the Biograph photoplay, "Three Friends," previously referred to in this chapter, there was one short scene that was especially effective--one of those human-interest bits that are characteristic of photoplays that sell. After the arrival of the two men, and the reconciliation between the foreman and the young woman's husband, the former hurries the latter off to the factory, promising to "give him back his job." The third friend hangs behind, and, realizing that the wife is without money to buy food, hands her a banknote. She hesitates to take it; but he, noticing the revolver which she now holds, takes it from her and thrusts the money into her hand in its place, indicating that he is only buying the "gun" from her. The woman smiles gratefully, and the kind-hearted friend hurries out after the other two men. It will pay the student to remember all the little human touches of this kind that he sees in the photoplays of others, and, while by no means copying them, try to work into his own stories bits of similar value. Human interest must be woven in the plot, and not thrown in in chunks. As for how to do it, "Each mind," says Emerson, "has its own method. A true man never acquires after college rules." But of one thing make sure: Plan your human appeal from the start, so that the actual climax may loom up distinctly from the time you write your very first scene. As Jean Paul has said, "The end we aim at must be known before the way." In conclusion, we offer a short catechism that the writer will do we
PREV.   NEXT  
|<   123   124   125   126   127   128   129   130   131   132   133   134   135   136   137   138   139   140   141   142   143   144   145   146   147  
148   149   150   151   152   153   154   155   156   157   158   159   160   161   162   163   164   165   166   167   168   169   170   171   172   >>   >|  



Top keywords:

scenes

 

remember

 

friend

 

hurries

 

photoplays

 

director

 

interest

 
student
 

revolver

 

noticing


hearted
 

hesitates

 

banknote

 

gratefully

 
thrusts
 
realizing
 

smiles

 

buying

 

indicating

 

chunks


actual

 

climax

 

distinctly

 

appeal

 
conclusion
 

catechism

 

writer

 
college
 

stories

 

similar


copying

 

touches

 

acquires

 

method

 

Emerson

 

thrown

 

effective

 

library

 
written
 

enacted


setting

 

people

 

provide

 

exterior

 

background

 

settings

 

indoor

 

lanning

 
scenario
 

positively