J. Berg Esenwein

“ 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 picture. You have witnessed many, but only the playwright and the theatrical man may be said to watch plays, whether on the stage or on the screen, with every faculty alert and receptive, ready to pounce on any suggestion, any bit of stage business, any scenic effect, or any situation, that they may legitimately copy or enlarge upon for their respective uses. ”

“ It seems incredible that any writer, knowing, as he must, that the idea, the plot-germ, is what really makes the story, should neglect to note it down the moment it comes to him; and yet there are those who simply trust memory to retain an impression. In the photoplay especially "the idea's the thing" for here you cannot depend on description or on good writing to sell your story. ”

“ This one thing bear especially in mind: clean comedy is even more essential than clean drama. It is so easy, when writing humorous material, to go wrong without intending it—indeed, even without knowing it. Under the guise of comedy some producers are responsible for scenes and situations that manage somehow or other to pass the censors, whereas the same scene in a dramatic photoplay would not be tolerated for a moment. ”

“ To say that there must be a logical sequence in progressing from scene to scene, and that each must appear to be the natural outcome of the one preceding it, is by no means to say that you must suggest in one scene what is about to follow in the next. It is when we review a photoplay in retrospection that we decide whether proper care has been given to the planning of the scenes so as to make them lead smoothly one into the other, but while we are watching a photoplay for the first time, half the charm lies in not knowing what is coming next. ”

“ Experience alone will teach you which companies pay the best prices; after you have sold several scripts, and have become acquainted with the price-scale of different studios, you will, if the play suits that particular market, naturally offer your material first to the company that has paid you best. But just as soon as a script comes back from one company—so long as you feel certain that it is not in your power to improve it before letting it go out again—send it out to another, and then to another, until it is either accepted or so worn or soiled that it is politic to recopy it. ”

“ You are a clever writer, undoubtedly, if you can produce a "leaderless" script. But it is no indication of cleverness merely to leave out a leader—only to find, when your story is produced, that the director has found it necessary to add what you have simply cut out or never put in. He is a foolish and short-sighted writer indeed who gives any director such an opportunity to doubt his knowledge of photoplay technique. ”

“ Do not introduce a crime-scene into your picture simply because when you saw a similar scene in a photoplay it aroused a moment's thrill among the spectators. The fact that it passed the National Board and the local censorship committee—if your city has one—does not mean that it is the kind of picture the better class of theatre patrons want, and the better class ought to be set up in your mind as the judges of all you write. A bad example will not justify you in writing a play containing objectionable scenes. The safe ground is the best ground because it is right. ”

“ Therefore all sub-titles should be couched in language that harmonizes with the story. Every word should be weighed. Nothing should ever shock the spectator out of his interest in the picture by its incongruity, extravagance or inanity. Too much in a sub-title is as bad as too little—like seasoning in a pudding. The function of the sub-title is to supplement and correct the action of the picture, to cover lapses in the continuity, and to supply the finer shades of meaning which the actor has been unable to express in pantomime. ”

“ To use up two or three scenes in showing trivial incidents which may happen to the characters while they are, so to speak, standing in the wings ready to make their entrances, is as tiresome as it is useless. If the hero of the Western story makes his first appearance by dashing into the scene madly pursued by a band of Indians, the spectator is not interested in finding out what he was doing at the time he first discovered the red men closing in upon him; it is how he will escape them that engages their whole attention. ”

“ Imagination is the writer's greatest asset, but imagination run riot is photoplay madness. It must be intelligently exercised else it will fairly run away with the plot, and the result will be a literary wreck. You must study—and hence realize at least fairly completely—the possibilities of your story before you start to write it at all. Haphazard work will never bring you anything—in photoplay writing or in any other creative line. ”

“ Especially in comedy must each scene tell; hence there can be no excuse for "writing in" a number of scenes which have no dramatic value whatever, for that is palpable padding. True, you may have seen many comedy subjects in which one or two fairly good ideas were stretched out until you could almost picture the director kneeling in front of the camera, stop-watch in hand and megaphone at lips, wearily pleading: "Ginger up! Work fast! It will soon be over." ”

“ Nothing is more common in a moving picture studio than to hear one actor say to another: "Tonight such and such a theatre is showing such and such a picture [one in which they have worked] ; let's go over to see it." And if the actor is anxious to study acting through watching the work of himself and others on the screen, how much more should the writer be willing and anxious to study the technique of the photoplay by paying frequent visits to the picture theatres? ”

“ When an editor takes out a script and reads the title, "The Sad Story of Ethel Hardy," would he be altogether to blame if he did put the script back into the return envelope utterly unread, as so many editors are accused of doing yet really do not do? To anyone with a sense of humor, there is more cause for merriment in the titles that adorn the different stories that a photoplay editor reads in the course of a day than is to be found in a humorous magazine. Yet it is as easy for some writers to select a good, attractive title for their stories as it is difficult for others. ”

“ Every theatrical manager knows that he is taking a chance, and a big chance, when producing the work of a new writer. The writer, also knowing this, and realizing that every additional character means an addition to the salary list—and therefore to the manager's risk—wisely uses no more characters in the unfolding of his plot than he can help. Even when an actor "doubles" two parts, he expects a proportionately larger salary for so doing.
In the moving picture studios, on the other hand, the players are paid by the week, to work, as it were, by the day. ”

“ An author who is anonymous has said "While the story may have for a plot a subject involving complication, or mystery, each scene must be easily understood, or the audience, taxed by trying to fathom motives or emotions with which it is unfamiliar, or with which it is not in sympathy, loses the thread of the story, and consequently pronounces the photoplay lacking in interest. Remembering the brevity of the film drama, compactness and simplicity in every feature are to be desired. It does not require a great cast of characters nor unusually spectacular scenic work to produce the big idea. ”

“ A.W. Thomas, in the Photoplay Magazine, "as does every editor and author, that morality is to be desired, and to this end, crime or suggestion of crime is presented, as a rule, to convey the moral. 'Crime for crime's sake' is to be condemned. Sensationalism and forbidden themes are seldom seen nowadays."
Aside from murder and suicide, why is it that so many young authors imagine that to be strong a story must have at least one violent or tragic death-scene? ”

“ The depths of human woe and suffering, or the very heights of joy and attainment, can be pictured in a flash. The dramatic story should consist of a strong and preferably unique plot, simple and direct in its appeal to the heart, and expressed or conveyed to the audience by a logical sequence of episodes or incidents, all having direct bearing on the story, and each one of sufficient strength to hold the attention of the spectators. The story must be human, the characters and their motives and actions human and true to life. The drama is perfect as it reflects a correct imitation of nature. ”

“ A photoplay is a story told largely in pantomime by players, whose words are suggested by their actions, assisted by certain descriptive words thrown on the screen, and the whole produced by a moving-picture machine.
It should be no more necessary to say that not all moving-picture productions are photoplays than that not all prose is fiction, yet the distinction must be emphasized. A photoplay is to the program of a moving-picture theatre just what a short-story is to the contents of a popular magazine—it supplies the story-telling or drama element. ”

“ Experience alone—combined with the study of the pictures seen on the screen—can teach you just what scenes are really necessary and which may be avoided; the point to remember is that you should not waste footage on even the shortest scene that can be eliminated without detracting from the interest or breaking the logical sequence of the events in your story. In other words, make it your hard and fast rule to write nothing into your scenario that does not aid materially in telling your story and making your meaning clear to the spectator. ”

“ To have the plot-instinct is a great blessing for the writer. Lacking this, however, the most valuable asset he can possess is the note-book habit. Carry one with you constantly. Jot down everything that may be of help in framing and developing a plot, as well as in creating a dramatic scene for a story. Remember that plots are not lying around fully developed, awaiting only some observant eye to discover them, but they almost always grow out of single ideas—plot-germs—which one may recognize as incidents and situations in everyday life or in unusual circumstances. ”

“ But giving an old theme a new twist is a trick of the trade that comes only with experience, and experience is gained by practice. Experience and practice soon teach the photoplaywright not to rely too heavily upon the newspaper for new ideas, for almost every day editors receive two or more plots which closely resemble each other, simply because the writers, having all chosen the same theme, have all worked that theme up in the same way—the obvious way, the easiest way, the way that involves the least care, and therefore the least ingenuity. ”

“ Not only is our attention called to the fact that the writer or director is working a certain technical trick to death, but in following the story its working out is spoiled for us as a result of the very thing used with the intention of heightening our interest.
"Even Griffith, in his big production, 'Hearts of the World,' taxes suspense too far at one point," says Mr. Sargent. "So clever a trickster as he (and, like Belasco, he is more the artistic trickster than the artist) has failed to realize that suspense, carried too far, becomes first tiresome and then amusing. ”

“ Many a man of brains and of excellent education who in any other calling might easily make his mark, finds himself totally unable to win success in short-story writing and photoplay writing simply because, not having an imaginative or (in the literary sense) creative mind, he neglects the thousand-and-one opportunities to stock that unimaginative mind with ideas furnished wholesale by the life he sees about him every day, or by available books of reference, magazines and daily papers; and, last, but far from least in importance, the pictured stories seen on the screen. ”

“ The solid photoplay of today should not be made to resemble a cheap melodrama, in which something highly sensational is sure to happen every three minutes. Just because you have seen a sensational episode in a play on the screen, do not attempt to crowd your scenario with minor thrills and sensations, regardless of whether the incident pictured is relevant to the plot. If your plot is a strong one, its unfolding will suggest scenes of sufficient dramatic quality to hold the interest. ”

“ Bear that truth in mind, no matter what you write of, and never start anything that you can't finish—which is simply one way of saying, do not start to write a story at all until you have every scene, situation, and incident, so thoroughly planned, motivated and developed in your mind that when you come to write it out in action in the scenario you cannot help making the audience understand the plot. Never attempt to introduce even a single situation without a logical cause ”

“ 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. ”

“ If you are in earnest, and intend to succeed, why not give yourself every chance to gain the editor's attention and interest by proclaiming that you are a business man as well as a writer? Many film manufacturers plainly announce that only typed scripts will be examined. Therefore write the script with a typewriter. Today, when many companies rent good machines at from $4.00 for three months to $3.00 a month, and when you can buy a typewriter outright for from $15.00 to $100.00, the writer who is able to use one and who does not do so is simply being unfair to himself. ”

“ It seems scarcely possible that any intelligent photoplay writer would introduce into one of his stories an incident calculated to offend the religious or political faith of any patron, and yet in the past different pictures of this kind have been the cause of more than one unthinking moving-picture theatre manager's losing some of his best patrons. People as a rule have no objection to being preached to in a mild and entertaining way when they go to a picture show, but they do object to having their feelings hurt. ”

“ A novel may be largely a study of character; a short-story may deal with action which takes place wholly unseen in the soul of man; a play or a musical comedy may be chiefly a series of scenic pictures or tuneful caperings; but a true photoplay must act out [Pg 31] a story—a story with a big central point, supported by contributing points, or situations.
The story, then, comes first—in more than one sense. It is the bait you hold out to the editor of the photoplay company. If he can be interested in your story, the script is half sold. ”

“ Then why try to write stories of business life in a large city, of society, of theatrical or circus life, or even of the far West, until you have succeeded with a few stories that might easily be set within a short distance of where you live? ”

“ Clearing up a point in the action is too obvious a use of the leader to require much discussion. Some things mere actions cannot express, and some explanations must be verbally made because pantomime suggestion is inadequate. To take their proper place in the photoplay all such leaders should be more than merely explanatory: they should have genuine dramatic value—just as much as an important speech would have in a "legitimate" dramatic production. In the pictured drama the leader really fills in a significant part of the plot which could not be portrayed by wordless action. ”