Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-20
BY HARRY o. HOYT
Head Of the Metro Scenario stan

| TT is quite evident that most OF our read
i ers who are writing their first photoplays
are trying to write feature subjects. This
Is not advisable, and works more harm than
good Seveal writer's. when | have sug-
Bested that they try the shorter length sub
jects, have cited novelists who never wrote
a short story In their lives. They attempt
to compare the short story with the short
photoplay and the book-length novel with
the feature or multiple-reel photoplay
The comparison Is good, but one factor
is verlooked-technique If you want to
write synopses only II makes little differ
ence whether you write a long story or
a short one, but the development OF a short,
single-reel subject. lays the groundwork for
the entire study of the photoplay-scenario.
Let us consider the short-length subject
and note the difference between 1t and the
longer or feature photoplay. For example.
we will build sngle-reel photoplay as
we go along. 1t will lack merit for produce
ton, but probably will illustrate construc-
tlon.
Taking an old familiar theme we will
see how 1t can be twisted and how new
another story. Mary Jones Is the daughter
of John Jones, a rich banker. lie Is a
widower and she is the idol of her fathers
life. 1t Is for her that he accumulates
wealth. We must Introduce these charaters
in their atmosphere We must get to the
If It is feature picture we can elaborate,
and just here comes the first difficulty.
Most beginners can elaborate. but they do
not tell the story while doing so. They
show scenes that mean nothing. Advance
the action, should be every beginners
watchword Learning how to do this is
absolutely essential.
In the feature picture you can even in.
troduce your counterplot at this stage, II
by doing so you give your principal
character atmosphere and character. For
example, might want to show that in
the counterplot n certain group of men
were attempting to ruin the girls father
These men are not concerned in the main
plot, but somewhere in your story they are
going to bring about John JorFes down.
fall and present a new situation into which
your principal characters are placed.
These characters should be seen poor,
and 1t is necessary that they he poor in
order that the hero win Mary. The Others
have no interest in the hero or Mary. They |
are concerned in accomplishing the ruin of |
Jones and may be rich or poor.
Their motives form the counterplot They |
may be introduced as wealthy men at bail |
that is attended by Mary Thus wn would |
place Mary and start the characters of the |
at the same time. |
We would not like to show scenes of |
Mary at the ball for no other reason than
10 show that she is a girl of wealth and
itNuSNOIHth " dlltIlulilB DullS' IL we can |
start the counterplot, however we are ad-
vanCinE the story, and while advancing the
story we are giving atmosphere to our lead
nE characters
TO get back to the single reel subject
again We could not afford to give space to
he development of such counterplot. If
Jones is to be ruined we must show him
bringing ruin upon himself through specula-
ion or other means. Perhaps we can show
hat he has enemies in the business world,
Dut these enemies never become PERSONAL
ties.
If they do we are depressing and getting
,way from the story. We asking the
audience then to meet Mr.. Brown and Mr..
smith and to get acquainted.
II isn't enough to show two men in an
,ffice. The men are introduced but they
ire not personalities. You can't establish
character a premise without following
t out to its logical conclusion. SO we will
orget the counterplot and stick to our main
heme.
We must introduce our hero. Call him