Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-03
LESSON II
The Synopsis

Continued from Page One
tailed synopsis, we would say that the av-
erage synopsis used in the Metro studios,
where five-reel subjects are made. is about
five to seven pages of double spaced writ
Ing on the average typewriter paper size
sh by IL inches. This means about 400
words to the page, or from 1900 to 1000
words total
Farce or comedy synopses are naturally
shorter, and they have n style all their
| own In this connection some mention
ought to be made of comedy. titles, but the
whole subject of titles is reserved for the
! conclusion OF this series. as It properly
should
suppose you are writing a farce. You
naturally seek happy title that will sug-
8est comedy and not serious drama The
same holds true with the synopsis. Try
and hit the nail on the head with a happily
turned sentence to open the synopsis. Give
breezy account OF your subject in short
crisp sentences and do not attempt to go
INTO details which are apt to be tedious,
while they do not explain
Endeavor to excite the editors curiosity
80 that he will read your action A farce
is largely situation and some of the f,in-
niest farces cannot be told in a synopsIs
form without destroying the Illusion by
multitude OF words and phrases This
does NOT however, uphold the people who
argue that there should be no synopsis.
Give a synopsis. but do not elaborate.
Put the punch into your synopsis and the
editor Will gladly turn to the action, IL he
sees that you have something snappy to
offer Suppose you start on by saying:
Nellie didn't know 1t was loaded--but IL
was. Therein hangs a tale and she nearly
got hanged for 1t. 1t proved that Dad might
be some kind of fish, but he wasn't a
sucker"
Now go on and sketch In rapidly the out
line of your story. Give the punch FIRST
IL you can and only enough of the plot
TO excite interest. When the editor reads
the synopsis he will invariably examine the
action and IL you have evolved new situa-
tIons your story is purchased. II is not
always we'll TO make the play on words
as obvious as the above. but this illustrates
the point II Is desired to make.
In writing dramatic synopses you must
take the subject seriously II you would
have the editor take II seriously In this
case state your subject or develop your
problem and work up TO the dramatic elf.
max Of your play
Some authors have a fault In writing in
the synopsis action that Is never shown in
the body of the photoplay. In fact many
synopses read beautifully, but when the
editor comes to examine the action he finds
that incidents have never been developed at
all that are set forth in the synopsis.
The synopsis, for this reason, should be
written last Write the action, make your
cast and then write synopsis only OF what
you have developed In the action. There Is
another reason why the synopsis should be
last II you attempt 10 write a synopsis
and are not versed in photoplaY technique.
you will not be able TO develop your story
along picture lines
You cannot expect the editor to rewrite
your synopses Learn TO write picture
action first and then TO make your synopsis
tell the action from the picture angle
In conclusion we cannot but repeat that
the synopsis Is not only important but
almost vital 10 the good photoplay II
certainly increases an authors sales. so
why neglect it7 II editors all insisted that
II might be arbitrary, but IL your sales
increased by using 1t you would probably
comply with their dictum.
many good and valid reasons why there
should be one with every script and no
strong reason why there shouldn't.
on Monday I shall discuss the technical
terms used In scenario construction. These |
are the bugbear OF the unframed writer |
As a matter Of fact there Is nothing 70 be |
alarmed about II Is q matter OF common |
ssnse Photoplaywrights have found that |
with certain words and phrases It - easy |
to convey their meaning. ana usage has |
adopted ana incorporated them into our !
languass with the technical meaning de- |
sired 70 be expressed