The following example is selected from the scene-plot of "Sun, Sand and Solitude," a [scene-plot diagram] from which we reproduce on a succeeding page. The theme of this story is the discontent of a young wife, caused by seeing, month in and month out, the sun-baked stretches of the Arizona desert.
Exterior, showing desert, 17. For this scene, select an extremely barren and unpleasing bit of desert landscape.
Another exterior, 24. A stretch of desert landscape; if anything, more barren and solitary than 17.
Another exterior, 28. While still typical desert landscape, it is much less barren and desolate than either 17 or 24.
There is no law of writing, and no studio rule, to compel you to do any of these little things to help a busy editor or an earnest director, but, just because they are busy men, why not try to help them? So long as the "help" is not overdone, and is intelligent, clear, and concise, it is sure to help your script toward an acceptance.
The scene-plot diagram reproduced on the opposite page is the author's original diagram for the "Living room of ranch house" setting in his photoplay, "Sun, Sand and Solitude." With a little study of this diagram the reader will be able to judge just how the scene would appear in the picture on the screen. Of course, it is neither customary nor necessary to send such a diagram as this when you are submitting your script. There is a possibility, however, that the producer might use the author's diagram as a guide in preparing that particular setting, should the photoplaywright send one similar to the one here reproduced.
The dotted lines show the dimensions of the enlarged stage for special very large sets. Since the line E represents the background of this enlarged stage, it will be seen that it is almost twice as wide as the background for the interior setting here shown. By "background" is meant the space on the diagram between B and D, not the "desert backing," which, if the scene were taken inside the studio, would be simply a painted background, taking the place of the "drop" which would be used on the regular stage. It will be noticed that, although there are a couple of steps leading to the veranda, there is only one post indicated on the diagram. This, of course, is because a post at the other side of the steps is unnecessary, that point being "masked" by the piece of scenery representing the back wall of the room. The open door shows a portion of the veranda railing and the post on the left of the steps. As the scenario shows, Dean is carried up these steps, and into the bedroom on the left, after he has been thrown from his horse. To the right of the door, and looking out upon the veranda, is a bay window, forming a window-seat. Attention is called to the fact that what is so frequently called a "bay window" is, properly, a "bow window," the three sides of a bay window being at right angles to each other. The sideboard at the right of the stage is absolutely essential to the climax of the plot, though only half of it—enough to show the upper left-hand drawer distinctly—need appear in the picture.