Category: Plays/Films/Dramas

Writing the Photoplay

As its title indicates, this book aims to teach the theory and practice of photoplay construction. This we shall attempt by first pointing out its component parts, and then showing how these parts are both constructed and assembled so as to form a strong, well-built, attractiv...

Chapters

1. Chapter 1

2. Chapter 2

As its title indicates, this book aims to teach the theory and practice of photoplay construction. This we shall attempt by first pointing out its component parts, and then show...

3. Chapter 3

In almost everything that has been written up to the present time concerning the technique of photoplay writing, considerable stress has been laid on the statement that, notwith...

4. Chapter 4

Since it is the purpose of this volume to place in your hands every tool of the trade and every bit of information that may possibly be of assistance in winning the favor of bot...

5. Chapter 5

Simply because the word "scenario" has been so long used loosely as a name for the full written outline or story of the photoplay, it has come to mean the entire manuscript--or...

6. Chapter 6

While the one-reel photoplay is virtually obsolete today, having given place to plays of two or more reels, the form for the complete script is quite the same for the multiple-r...

7. Chapter 7

Any successful photoplaywright will testify that the proper preparation of the photoplay script has much to do with its being accepted, especially if more than the mere synopsis...

8. Chapter 8

For a few moments, it will be well to pause in order to survey the road we have patiently travelled in our efforts toward writing the photoplay, and also to look briefly at the...

9. Chapter 9

_A fictional or a dramatic plot is the working plan by which the story is made to lead up to the crisis (or complication, or cross-roads of choice), and then swiftly down to the...

10. Chapter 10

The expression "the cast of characters" may be used in any one of three senses: the list of principal characters as it is thrown on the screen to serve the purpose of a theatre...

11. Chapter 11

No matter how easy it may be for you to write a clear, brief and interesting synopsis of your story, nor how successful you may be in drawing up your cast of characters, you wil...

12. Chapter 12

In the foregoing example, three scenes are given to show how John gets from the store to the bank; but it might not be really necessary to take three scenes to show this action....

13. Chapter 13

bald statement-leader before Scene 9. The fact that "Tom discovers his brother's crime" is made plainer by Tom's own spoken words, in Scene 11, than an ordinary leader before th...

14. Chapter 14

bear in mind that the dissolve is somewhat harder to accomplish than the fade, and, again, while it merges one scene into another in an artistically beautiful manner, it is not...

15. Chapter 15

as a rule, it is best not to write a complete serial--even though only in synopsis form--unless you have what is beyond question a sure market. As a matter of fact, most serials...

16. Chapter 16

It has been said in an earlier chapter that it is optional with the writer whether to submit a scene-plot with his complete script; nevertheless, we believe that it is advisable.

17. Chapter 17

A full reel contains approximately one thousand feet of film. The ordinary five-reel feature is therefore somewhat less than five thousand feet in length. With far less stress l...

18. Chapter 18

being written in quotation marks. This device of throwing on the screen the supposed words of a certain character at the moment of action enables the photoplaywright to tell all...

19. Chapter 19

By "the photoplay stage" we mean all that sweep of view which is taken in by the range of the camera, whether in the studios or out of doors. At first this may appear to be of v...

20. Chapter 20

Unless you are already a successful fiction writer when you first determine to write photoplays it is not going too far to assert that you have never yet really watched a motion...

21. Chapter 21

The caption of this chapter must be taken as a serious warning that there are certain things which you cannot write into a script unless you wish to insure its rejection. These...

22. Chapter 22

From the time that you begin to write moving-picture plays, one important fact must be borne constantly in mind: The National Board of Censorship inspects and passes on all film...

23. Chapter 23

"With inventiveness and imagination the most commonplace, the everyday-life subject, such as the ills and cares we have to bear, becomes, by a proper exposition of human nature...

24. Chapter 24

Let it be remembered that the lines of division between the several sorts of comedy are not sharply defined, for one often overlaps the other; nor is a rigid adherence to type i...

25. Chapter 25

26. Chapter 26

27. Chapter 27

28. Chapter 28

29. Chapter 29

30. Chapter 30

31. Chapter 31

32. Chapter 32

33. Chapter 33

34. Chapter 34

35. Chapter 35

dressed only in three of Mrs. Jiggs' hat boxes, the bottoms of which have been knocked out. When Mrs. Jiggs declares "Pack your things and get out immediately--you are fired!" t...

36. Chapter 36

_No_ story is an old story if you give it a new "twist"--a fresh turn, an original surprise, an unexpected course of narration. As a matter of fact, this is what fiction writers...

37. Chapter 37

The script, which is an adaptation--the short-story of a famous author, "O. Henry," translated into screen technique--is in the form in which it was accepted for production. An...

38. Chapter 38

Writing the photoplay is essentially an art; marketing the photoplay script is a business; and the sooner the writer adopts intelligent, up-to-date business methods in offering...