as to make it appear that from three to five times that amount has been expended.  Sometimes, indeed, an effect produced at comparatively trifling expense, often by trick photography or by “faking” or substituting for some expensive property, is even more effective than the real thing would have been.  As an example, the effect on the screen of a miniature—­a “fake”—­Zeppelin falling through the clouds, a blazing mass, was convincing, thrilling and easy to produce, whereas from the spectator’s point of view it would have been well nigh impossible to make a satisfactory photograph of a real Zeppelin consumed by flames and falling to destruction, even though it had been both possible and financially worth while to burn a real dirigible.

Another thing to be remembered is that Mr. Nehls wrote his statement at a time when one-reel pictures were the rule; and what would have been considered enormously expensive for a single-reel story is not thought so much of when it is to be included in a production of five reels or over.  A good rule, followed by many successful writers, is to plan your story—­estimating as well as you can according to what unusual effects or settings, are called for—­so that a five-reel subject, say, will not call for more than five times the outlay demanded by a single-reel picture.  It is not an easy thing to do, we will admit; but you can do your best to figure the expense in this way.  Many manufacturers are willing to pay out as much for a thoroughly good five-reel picture as some others would pay for a six-or seven-reel feature; if they do so in the case of your story so much the better for you, in the light of the additional credit you will receive for having turned out an especially fine piece of work.  The point is:  Don’t be too ready to add to the expense merely because it is a multiple-reel story.  The test should be:  Is the expensive scene or effect absolutely essential to a proper unfolding of your plot?  If it is, include it; if not, leave it out or find as good a substitute effect as you can.  In any event, omit expensive scenes for minor parts of your plot.

2.  Considering the Expense of Settings

Do not write a scene into your scenario that will necessitate too much work for scenic artists, carpenters, and property men.  A truly big theme is, of course, entitled to careful, and even elaborate, staging; but it is usually only necessary to set forth the big theme and describe the setting in a general way; the producer will do the rest.  Do not be extravagant in your requirements.  This should be one of your first considerations when you start to write a scene:  could it be played as well in some other setting that would not require so much “staging?” Perhaps, in the setting that you thought of first, it might be necessary to use several extra people, thereby adding to the cost of production.  No doubt it would be very pretty and effective to have Ralph make up his quarrel with Dorothy as she sits down close to the camera in the crowded ball-room; but, if the play did not already contain a ball-room scene, could not the reconciliation be shown just as well in the library or on the street near her home or in a drawing-room scene where only a few guests are assembled, the guests all being regular members of the stock company?