Exterior Backgrounds Valuable.—In planning your scenario remember that for scenes that do not positively demand indoor settings it is best to provide an exterior background, or location. No matter how well provided with scenery a studio may be there is always a certain amount of time lost in erecting sets. Even though the director does not take the scenes in the order in which they are written, he will be able to save a great deal of time if, between the scene that is done in the library and the one enacted in the court-room, he can take his people out and get three or four, or even more, scenes in the open air, where the setting is ready for him. Carefully plan every scene before you write it, and see, for instance, if Dick could not propose to Stella in the garden, or on a bench in the park, just as well as he could in the drawing room or in the ball-room. Help yourself to more sales by helping the director to easier work.
Human Interest.—In the Biograph photoplay, "Three Friends," previously referred to in this chapter, there was one short scene that was especially effective—one of those human-interest bits that are characteristic of photoplays that sell. After the arrival of the two men, and the reconciliation between the foreman and the young woman's husband, the former hurries the latter off to the factory, promising to "give him back his job." The third friend hangs behind, and, realizing that the wife is without money to buy food, hands her a banknote. She hesitates to take it; but he, noticing the revolver which she now holds, takes it from her and thrusts the money into her hand in its place, indicating that he is only buying the "gun" from her. The woman smiles gratefully, and the kind-hearted friend hurries out after the other two men.
It will pay the student to remember all the little human touches of this kind that he sees in the photoplays of others, and, while by no means copying them, try to work into his own stories bits of similar value.
Human interest must be woven in the plot, and not thrown in in chunks. As for how to do it, "Each mind," says Emerson, "has its own method. A true man never acquires after college rules." But of one thing make sure: Plan your human appeal from the start, so that the actual climax may loom up distinctly from the time you write your very first scene. As Jean Paul has said, "The end we aim at must be known before the way."
In conclusion, we offer a short catechism that the writer will do well to consult before sending out his script:
Is my plot really fresh?
Could it be called a colorable imitation of any magazine story, book, or play?
Is it strong enough?
Is it logical?
Does it suit the time of year?