Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-30

For the most part the story would have
| been tirosOme, hs there IN nothing very
now about H. We would not have secured
the attention that we do by making the
shlt u IL the one chance that the photo
playwright has 10 leave something 10 the
imagination of tho audience
Tho novelist osn do this In many ways,
but We as photodramatiais have little iati-
tude N we give only the essentials here,
the audience will suppl tho remainder. The
details are Unnecessary
" may be that In n careful writing of
ihe plot we have nkotohed II would he bet
ter 10 show n little more than we have
outlined here. but the example illustrates
how little In absolutely necessary We
snow that both men know Gertrude, ana
mar the husband In jealous ana waiting for
= chance 10 revenge himself on both Of
'hem Thus the motive Of ths crime ia
established
To return to the scenes Of the night OF
the murder Interest here will not nag be-
cause there In melOhrama and good picture
action The audience Will be waiting 10
hse how the husband killed Jones and threw
The Hullt on Brown
II. however. We wish to get this over In
Few scenes. aH, for example II most ~
this story has been shown In the testimony
AZ the trial ana these details do not need
to he Incorporated into the recitation of
the husband, We can fade from incident 20
Incident
In other words, we can cast continuity
TO the Winds and Jump" This is allow
able only In narrative action This narra-
tive action Ia OF two kinds Either II II
told by some one OF the characters or told
IN the third person, ms II AOms one mper-
Honally were accounting the tale. An eE-
ample ~ the first instance would be the
above illuHtrRtion. where the husband In
rscountng the events OF the fatal evening
"a Yg.g.ia ~ ~. IuNN f.Ilg
suppose We wish 10 show q man HeekIng
work He has been discharged from prison
and nnds II dlfrcult 10 secure employment
with an appropriate subtitle such nA
From place 10 plhce John goes seeking cn-
pOyment. but ever finds the bar sinister
of HIS prison stain" II would be folly Ia
attempt continuity here va would per.
haps take up fve hundred 10 thousand
feet TO establish such notions with good
continuity
Instead wa fade In" scene ~ John
Eeckng work and show that the fact he has
been In prison causes q rejection of hls
application, and no leaves Fade out hla
leaving, and fade into another location
where he seeks work
PerhapR some detective warns the em-
ployer here ~ Johns record, and he In
again rejected. Fade out this and continue
with one or two more scenes ana the
thought Will be well established You will
need M subtitle or leaders In between these
scenes The fade" smOotha out the Jump
To return to the original discussion We
have seen that your story ran start with
some Incident In the middle OF the plot do.
Velopment N you have the right phOtOpiny
material TO work with But not all stories
are adaptable to this treatment In fact.
the majority ~ stories have n definite be.
ginning
II you hnd that the beginning Is trlte. or
That II In necsHanry 10 do considerable OK.
planning then seek some way 10 tighten
your beginning Invent sonathing inter.
"Htlng that Will he IN keeping with your
story. and that viii hold the attention Of
the audience TO your explanation
You viii keep out Of untold difficulties II
yqn toll your story straight II requires
sklilful handling 10 initiate your audience
INTO u mystery and keep the plot perfectly
clear To them. at the same time maslslnE
the dehouement II In far better 10 hope
mat they will not get tired with the details
of Your first reel than TO mix them up to
such an extent that they do not now what
II IL all about.
If you start phOioplay and then "vlsIon
back or fade back" 10 tell your story.
you hre confesslng 10 "a weakness, unless