, even as a gift. This
explains the introduction of little bits of detail and certain
suggestions which ordinarily would have no place in the synopsis were
it not that, in order to insure as fully as possible the proper
interpretation of his story, the writer inserts them in this way for
the benefit of both editor and--especially--staff writer.

The importance of trying to acquaint yourself with the preferences of
the different editors as to the length of the synopsis should be
apparent to any writer--although it is well to remember that editors
change and studio rules change with them. For a feature-story of five
reels or more you may have, say, from six to twelve typed pages--the
length of the synopsis, of course, depending upon the nature of the
story and the action it contains. You must be especially careful to
ascertain the preferences of an editor who reads scripts for a star
such as Douglas Fairbanks, because you know that a story prepared
especially for his use (although not written to order) may not sell
elsewhere if his company rejects it. However, regardless of its
length, the object of the synopsis is to present a clear, interesting
and comprehensive outline of the story--of what is worked out in
action in the scenario, if you send one--and to give editor, staff
writer and director all the help you possibly can without for a moment
making it appear that you are trying to teach them their business.
This does not mean that if you know _your_ business you need hesitate
to send in a scene-plot diagram as your suggestion for a certain
important set, or supply historical or other needed data, or give your
own idea of how best a certain effect can be obtained. All
broad-minded and progressive directors are glad to receive such help.
But do not attempt such suggestions until you have thoroughly mastered
the technique of photoplay writing and have also seen on the screen
many examples of how different effects have been procured in the past.
It is not out of place to say now what is enlarged upon in a chapter
to follow: The screen is, after all, the greatest of all schools for
the would-be professional photoplaywright.

Here are some wise words from Mr. Epes Winthrop Sargent, in _The
Moving Picture World_:

"The successful seller of synopses first makes his story interesting,
not through inflated literary style, but through clearness in the
exploitation of idea. He makes his second point through the fullness
of th