LESSON VI.
Scenario.
Have a purpose in your plot. Knowledge and Technique in Photoplay Writing (without an Idea that is new and original) are absolutely worthless.
You must first have a Plot or Idea that is worth-while and different, something directly appealing and inspiring. On the other hand, your Plot must be properly constructed in Scenario Form and contain the necessary technique to make it self-explanatory and marketable.
Film Producers will pay much more for original Ideas worked out into proper, technical Scenario Form.
Your Scenario should give the Editor an accurate understanding of the theme of your story, and show what each character is supposed to do.
From the beginning, you should remember that something must be taking place all the time to accentuate the various developments of the story.
All sentences of your Scenario should be condensed. Refer to our model Scenario.
Refer to our model Scenario and note how all sentences are condensed.
Photoplays are, of course, dumb, and their meaning must be clearly expressed by action. It is, therefore, not necessary to write as you would in a book, or as would be spoken on the stage. The scene action on the screen tells the story, and the camera carries out the details and theme of the play in an even more comprehensive way.
The beginning of the Play is almost as important as the end.
Arouse interest in your first scene, and you will then have a better chance to hold the spectator’s attention for the rest of the play. Always remember, however, to incorporate interest in all scenes, so as not to allow the thoughts of the spectator to waver or drift away.
You must stimulate the imagination of the audience, so that they will watch with keen interest every scene in the play.
Write slowly and surely, for a hurriedly written Scenario will no doubt, contain many faults, and will not create as good an impression with the Editor as one carefully prepared.
Write a story with Interest.
Is there any interest in a story where the wayward son is reformed by the appeals of his sweetheart?
But let us suppose that the wayward son is caught in the act of burglary. The master of the house takes his revolver from him, lays it on the table and tells him to sit down—then we have started interest.
Instead of calling the police, he asks him why he has lowered himself to such a degrading position as burglarizing.
Then the daughter appears, and although she knows that her father is a professional gentleman-crook, still she takes an interest in the young wayward boy and treats him with kindness.
You must, therefore, incorporate interest in every point of the play, and while the plot must not be over-done, still the actions of the characters must awaken the emotions of the audience.
You can develop the above idea, strengthen the action as you proceed, and then after a combination of events, have the daughter reform both her gentleman-crook father and the wayward son.
Your Scenario should have a number of unusual turns and the Grand Climax must not be reached till many difficulties have been overcome.