Writing the Photoplay

by J. Berg Esenwein; Arthur Leeds

Some companies that request the synopsis only also like the writer to submit two synopses. The first, for the special benefit of the editor, and shorter than the two-hundred-and-fifty-word synopsis of a few years ago, is intended to show the editor or his reader almost at a glance if the story is what that particular company could use at all. The second synopsis, of course, is the longer and more detailed one from which both he and the staff man can get all the necessary details if your story is purchased. By reading the market departments of such magazines as The Writer's Monthly, and the various trade journals, you can keep posted as to which concerns like this double synopsis. For your own good, always observe the rule if the company lays it down, and remember that it is an easy matter to make a brief synopsis from the longer one already prepared.

Again, while it is also necessary to observe strictly the rule of sending the "synopsis only" to companies that demand it, one of the present writers has found that many firms welcome the author's continuity, after the story has been purchased on the strength of its synopsis, for the sake of the finer details of action and the technical and mechanical suggestions contained in it, and even though they use it merely as an additional aid to the staff writer in preparing his continuity. Such a company, of course, merely gives the writer a courteous "thank you" for his continuity, as contrasted with those that pay a certain amount for the synopsis and, usually, double that amount if the scenario also is called for; but the earnest writer has the satisfaction of knowing that, with the additional details supplied in the scenario, or continuity, the staff writer stands an even better chance of perfectly preparing the blue print, as it were, of the story from which the director will work while building the photoplay.

These things being so, this writer works along the following lines: From a rough draft, or working synopsis, he prepares the complete scenario, just as he would do for a company that was having a story done to order. To this, in any case, must be attached a synopsis. He therefore writes a very complete, detailed synopsis, preparing it in the manner which will presently be described. In addition, it is a very simple matter to write a synopsis of from one hundred and fifty to two hundred and fifty words, according to the story, and have it ready in case he finds it advisable to submit to a "two synopses requested" concern.

Now, whether the company is or is not one of those that will accept the author's own continuity as an additional guide for the staff writer, if it is a concern that asks for a complete, detailed synopsis, this writer sends in what he has more than once humorously termed a "camouflaged continuity." He does not, so to speak, send in the "plot of action"—the full continuity—with the technical directions and scene numbers left out, but a genuine, specially-written synopsis, in proper narrative form. However, it is written directly from his own complete, detailed continuity, and the action, though in narrative form, is made to run along exactly as it does in the continuity. This, it may be said, is almost the same process which was followed by writers a few years ago, when complete scripts were first in demand, and which we advocate earlier in the present chapter. But you must bear in mind that the method here outlined is used in connection with the writing of a synopsis of from three thousand to six thousand words, or even more, if really necessary, as contrasted with the two-hundred-and-fifty-word synopsis generally demanded a few years ago. Furthermore, the synopsis is written in such a way that anyone could separate this writer's sentences and paragraphs by drawing a lead pencil between the lines, thus dividing it into almost the exact number of scenes, with the same continuity of action as shown in the scenario. The minor details of action are omitted, of course, and there are little side remarks written in, in connection with characterization, etc., which would be out of place in the scenario.

As for its mechanical preparation, this synopsis is double spaced, with a left-hand margin of one and one-half inches. As the story runs on, many statements are made which give the staff writer an opportunity to use a leader (sub-title) at that point if he wishes to; but if in his own scenario the writer whose practice we are quoting has a number of leaders (frequently ordinary statement, or before-the-scene, sub-titles, but usually cut-in, or dialogue, leaders) which he really feels are of special importance, and worded just right, they go into the synopsis written in red, and started in the left margin at "0," with double space both above and below them. In this way they stand out clearly and give the staff writer or the sub-title editor (if the firm employs someone to attend to that special work), a chance to pick them out quickly and decide whether or not he wishes to retain them. Even more important than the matter of keeping in the sub-titles after the picture has been produced is that of directing the action of the players when putting on the picture, so as to work directly up to the leader that fits into the action at a certain point. Knowing this fact, the writer gives the director help in the way just described; what necessary changes are made after the script has been sold is a matter over which no free-lance writer has any real control.

At the end of this chapter is reproduced a [page] from one of this same writer's synopses, illustrating just how far he usually goes in giving details of the action when writing a complete synopsis, and showing how the suggested inserts are separated from the narrative of plot. Let us repeat, however, that not all companies that ask for the detailed synopsis care to have also the scenario, even as a gift. This explains the introduction of little bits of detail and certain suggestions which ordinarily would have no place in the synopsis were it not that, in order to insure as fully as possible the proper interpretation of his story, the writer inserts them in this way for the benefit of both editor and—especially—staff writer.

The importance of trying to acquaint yourself with the preferences of the different editors as to the length of the synopsis should be apparent to any writer—although it is well to remember that editors change and studio rules change with them. For a feature-story of five reels or more you may have, say, from six to twelve typed pages—the length of the synopsis, of course, depending upon the nature of the story and the action it contains. You must be especially careful to ascertain the preferences of an editor who reads scripts for a star such as Douglas Fairbanks, because you know that a story prepared especially for his use (although not written to order) may not sell elsewhere if his company rejects it. However, regardless of its length, the object of the synopsis is to present a clear, interesting and comprehensive outline of the story—of what is worked out in action in the scenario, if you send one—and to give editor, staff writer and director all the help you possibly can without for a moment making it appear that you are trying to teach them their business. This does not mean that if you know your business you need hesitate to send in a scene-plot diagram as your suggestion for a certain important set, or supply historical or other needed data, or give your own idea of how best a certain effect can be obtained. All broad-minded and progressive directors are glad to receive such help. But do not attempt such suggestions until you have thoroughly mastered the technique of photoplay writing and have also seen on the screen many examples of how different effects have been procured in the past. It is not out of place to say now what is enlarged upon in a chapter to follow: The screen is, after all, the greatest of all schools for the would-be professional photoplaywright.

Here are some wise words from Mr. Epes Winthrop Sargent, in The Moving Picture World:

"The successful seller of synopses first makes his story interesting, not through inflated literary style, but through clearness in the exploitation of idea. He makes his second point through the fullness of the necessary detail. His third point is made through the omission of unnecessary detail. His last advantage is that he knows when to give scenes that are out of the ordinary and leaders that will be useful to the continuity writer. He undertakes to sell no more than an idea, and, selling an idea, he does not confound it with history nor expect the buyer to be a mind reader. That is the great trick in synopsis writing. Learn what to put in and what to leave out. Learn to tell what the continuity writer needs, and learn to omit the things that will suggest themselves to the imagination of any intelligent plot-handler."

6. The Form of the Synopsis