present writers has found that many firms welcome the author's
continuity, _after the story has been purchased on the strength of its
synopsis_, for the sake of the finer details of action and the
technical and mechanical suggestions contained in it, and even though
they use it merely as an additional aid to the staff writer in
preparing _his_ continuity. Such a company, of course, merely gives
the writer a courteous "thank you" for his continuity, as contrasted
with those that pay a certain amount for the synopsis and, usually,
double that amount if the scenario also is _called for_; but the
earnest writer has the satisfaction of knowing that, with the
additional details supplied in the scenario, or continuity, the staff
writer stands an even better chance of perfectly preparing the blue
print, as it were, of the story from which the director will work
while building the photoplay.

These things being so, this writer works along the following lines:
From a rough draft, or working synopsis, he prepares the complete
scenario, just as he would do for a company that was having a story
done to order. To this, in any case, must be attached a synopsis. He
therefore writes a very complete, detailed synopsis, preparing it in
the manner which will presently be described. In addition, it is a
very simple matter to write a synopsis of from one hundred and fifty
to two hundred and fifty words, according to the story, and have it
ready in case he finds it advisable to submit to a "two synopses
requested" concern.

Now, whether the company is or is not one of those that will accept
the author's own continuity as an additional guide for the staff
writer, if it is a concern that asks for a complete, detailed
synopsis, this writer sends in what he has more than once humorously
termed a "camouflaged continuity." He does not, so to speak,
send in the "plot of action"--the full continuity--with the
technical directions and scene numbers left out, but a genuine,
specially-written synopsis, in proper narrative form. However, it is
written _directly from_ his own complete, detailed continuity, and
the action, though in narrative form, is made to run along exactly as
it does in the continuity. This, it may be said, is almost the same
process which was followed by writers a few years ago, when complete
scripts were first in demand, and which we advocate earlier in the
present chapter. But you must bear in mind that the method here
outlined