is used _in connection with_ the writing of a synopsis of
from three thousand to six thousand words, or even more, if really
necessary, as contrasted with the two-hundred-and-fifty-word synopsis
generally demanded a few years ago. Furthermore, the synopsis is
written in such a way that anyone could separate this writer's
sentences and paragraphs by drawing a lead pencil between the lines,
thus dividing it into almost the exact number of scenes, with the same
continuity of action as shown in the scenario. The minor details of
action are omitted, of course, and there are little side remarks
written in, in connection with characterization, etc., which would be
out of place in the scenario.

As for its mechanical preparation, this synopsis is double spaced,
with a left-hand margin of one and one-half inches. As the story runs
on, many statements are made which give the staff writer an
opportunity to use a leader (sub-title) at that point if he wishes to;
but if in his own scenario the writer whose practice we are quoting
has a number of leaders (frequently ordinary statement, or
before-the-scene, sub-titles, but usually cut-in, or dialogue,
leaders) which he really feels are of special importance, and worded
just right, they go into the synopsis _written in red_, and started
in the left margin at "0," with double space both above and below
them. In this way they stand out clearly and give the staff writer or
the sub-title editor (if the firm employs someone to attend to that
special work), a chance to pick them out quickly and decide whether or
not he wishes to retain them. Even more important than the matter of
keeping in the sub-titles after the picture has been produced is that
of directing the action of the players when putting on the picture, so
as to work directly up to the leader that fits into the action at a
certain point. Knowing this fact, the writer gives the director help
in the way just described; what necessary changes are made after the
script has been sold is a matter over which no free-lance writer has
any real control.

At the end of this chapter is reproduced a page from one of this same
writer's synopses, illustrating just how far he usually goes in giving
details of the action when writing a complete synopsis, and showing
how the suggested inserts are separated from the narrative of plot.
Let us repeat, however, that not all companies that ask for the
detailed synopsis care to have also the scenario