The result of following these suggestions will be a neat and attractive type-page, upon which the producer will be able to locate the scene-numbers and other directions at a glance, as may be seen from the following example:
The fact that every studio has writers on its staff to make over scenarios which are good but not in quite the correct form for the director, into what are known as "working scripts," should make no difference to you when writing your script. Let what you offer to the editor be as perfect as you can make it, regardless of what becomes of it after you have sold it. Make it, in every sense, a desirable script.
With regard to the proper spacing for a photoplay manuscript, some editors prefer single and others double spacing. Again, sometimes an editor may have a fondness for double spacing, while the director leans to scripts that are single-spaced. Our experience has shown, however, that the majority of editors and directors like single spacing for the actual subject-matter of the scene—the paragraphs of action—but double spacing between all other matter. Therefore use double space between a leader and the description of the scene which follows, and between the description of the scene and the action proper. This method of spacing, when combined with the rule of placing all directions in the extreme left-hand margin, results in a script that is almost sure to be satisfactory, and is certainly attractive, mechanically.
In conclusion, do not forget that a good typewriter is a tool of the writer's trade, and perhaps the most important tool of all. As for the question of which is the best typewriter, it is entirely a matter of opinion. If you live in a small town, where there is no typewriter agent or agency, see if, among your business acquaintances, there are not represented all the standard makes. Ask permission to examine as many different makes as you can find; try what each will do; make up your mind whether you prefer the single or the double keyboard. If you choose a machine with the single keyboard, you must get used to the shift-key system of printing capitals, yet many writers prefer the single keyboard. If you are buying a machine the makers will gladly substitute for one of the needless characters already on the keyboard—such as @—an odd character for which a writer of photoplays or of fiction would have particular use, such as the exclamation mark.
Having a typewriter, take care of it. Clean the type regularly with a stiff brush; keep it cleaned and oiled; protect the platen from spots of oil or grease of any kind; and give the machine the general attention which it deserves.
From all this, it may seem that undue stress is laid upon the neat appearance of the script, and the way it is planned from a mechanical viewpoint. But we re-affirm what has been said at the opening of the present chapter, and, in addition, we assert that not only are neatness and correctness in the preparation of the script of importance now, but, in the good times to come, to which all photoplay writers are looking forward, the names that will be featured on the posters and in the advertising matter of the companies will be the names of the writers to whom the big checks are paid, and for whose work there will be a steady demand, and they will be the names of the writers who consider it worth while to TAKE PAINS.