CHAPTER XI

THE SCENE-PLOT AND ITS PURPOSE

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.

1.  Why Prepare a Scene-Plot

The reason is a plain one:  Until the writer has become known as a professional, it is the spirit in which the scene-plot is sent rather than its actual value to either editor or director that counts in his favor.  It indicates his willingness to help both these busy men so far as lies in his power; further, it shows that he is willing to do at the beginning of his career that which he would never for a moment think of leaving undone after his complete scripts are once in demand; but, most of all, it shows that he has enough confidence in his work to believe that—­provided the story is acceptable—­it will be produced essentially as he has planned it.

Naturally, it often happens that the director adds scenes to those planned by the author, and even oftener some of the author’s scenes are cut out; in either case, however, so much of the scene-plot as remains unchanged will have its value.  The author may feel that the director’s alterations are unwarranted, but that functionary rarely makes additions or cuts unless he works an improvement.

The writer sends the scene-plot along so that, in case no drastic changes are necessary, the director may have all ready his list of scenes arranged in proper chronological order.  From these he will prepare his regular scene-plot diagram, which the carpenters and mechanics will use in building the scenery, and by which the stage hands and property men will be guided in setting the scenes and placing the furniture and other “props.”

2.  The Scene-Plot Explained

Let us now explain the difference between the only kind of scene-plot with which the photoplaywright is concerned and that which the director means when he uses the same term.

Practically all directors have had experience as theatrical producers, or stage directors, or stage managers, before entering the moving-picture field.  What is known as a scene-plot in regular theatrical work is a list of the various scenes, or sets, showing where the different “hanging pieces” (drops, cut-drops, fog drops, foliage, fancy, kitchen, or other borders) are hung, and how all the various pieces of scenery that are handled on the floor of the stage, as wood and rock wings, “set” pieces, “flats,” and “runs,” are to be arranged or set.  Almost every stage carpenter has, in addition to this list, a supply of printed diagrams showing the exact position on the stage of everything handled by the “grips,” or scene-shifters, as well as the proper arrangement on the set of the furniture and larger props.  Both the list and the diagram are usually printed on one sheet, and this, known as the scene-plot, is sent ahead to the stage managers of the theatres in the next towns to be played.  At the same time, a “property plot,” being simply a list, act by act, of the various props not carried by the company, is sent to the property man of the house.