In passing we may mention the letter or other document which is actually written by the actor who is supposed to write it.  Such a piece of writing, of course, must be, and is, not an “insert,” but rather a part of a close-up scene.  It might appear in the scenario thus: 

27—­Close-up of upper part of Allison’s body, right hand writing in pencil on one of Enderby’s letterheads.  He writes: 

     It took eleven years to get you, Enderby, as I swore I
     would, some day.  Now that I’ve kept my oath, I’m ready to
     pay the price, and you will

It is comparatively seldom, however, that this kind of close-up is made use of—­usually because the actor or actress does not write a sufficiently clear hand for satisfactory “screening.”  More often the player will be seen starting to write the note, and then the close-up of another hand, supposedly that of the player, will be shown, writing the words designed to be read by the spectator.  In either case, they are close-ups, but the wording must be given in full, just as if you were writing an ordinary letter or other insert to be shown on the screen after it has been written.  But do not confuse what we have just said with the fact that, nowadays, nearly every letter that is screened is shown in what is literally a bust picture, the letter or document being held in the hands of the player as he or she reads it.  This is merely an additional realistic touch added in the studio; the writer supplies his insert in the regular way.

The proper use of leaders and other inserts is a part of the technique of photoplay writing that is best learned by practise.  Be sure to keep a carbon copy of your script.  Then, if your story is accepted and produced, when you are watching it on the screen note the leaders carefully, comparing them with the ones you originally wrote, and profit by what you see.  If the producer has seen fit to make changes of any kind, there is a reason, and it is generally safe to assume that it is a good one.

CHAPTER XIII

THE PHOTOPLAY STAGE AND ITS PHYSICAL LIMITATIONS

By “the photoplay stage” we mean all that sweep of view which is taken in by the range of the camera, whether in the studios or out of doors.  At first this may appear to be of very wide area, but the scene-plot diagram (see Chapter XI) will give a good idea of space-limitations in staging the picture.

1.  Scope of the Stage

To begin with, the actors must be constantly on the alert to avoid “getting out of the picture” while the scene is being taken.  Suppose an actor is seated in a reclining chair that has been “set” where the line A cuts it in half, so to speak.  If he is leaning forward, he will be completely in the picture.  But if he forgets himself and leans back it is likely that the upper part of his body will