Again, while it is also necessary to observe strictly the rule of sending the “synopsis only” to companies that demand it, one of the present writers has found that many firms welcome the author’s continuity, after the story has been purchased on the strength of its synopsis, for the sake of the finer details of action and the technical and mechanical suggestions contained in it, and even though they use it merely as an additional aid to the staff writer in preparing his continuity.  Such a company, of course, merely gives the writer a courteous “thank you” for his continuity, as contrasted with those that pay a certain amount for the synopsis and, usually, double that amount if the scenario also is called for; but the earnest writer has the satisfaction of knowing that, with the additional details supplied in the scenario, or continuity, the staff writer stands an even better chance of perfectly preparing the blue print, as it were, of the story from which the director will work while building the photoplay.

These things being so, this writer works along the following lines:  From a rough draft, or working synopsis, he prepares the complete scenario, just as he would do for a company that was having a story done to order.  To this, in any case, must be attached a synopsis.  He therefore writes a very complete, detailed synopsis, preparing it in the manner which will presently be described.  In addition, it is a very simple matter to write a synopsis of from one hundred and fifty to two hundred and fifty words, according to the story, and have it ready in case he finds it advisable to submit to a “two synopses requested” concern.

Now, whether the company is or is not one of those that will accept the author’s own continuity as an additional guide for the staff writer, if it is a concern that asks for a complete, detailed synopsis, this writer sends in what he has more than once humorously termed a “camouflaged continuity.”  He does not, so to speak, send in the “plot of action”—­the full continuity—­with the technical directions and scene numbers left out, but a genuine, specially-written synopsis, in proper narrative form.  However, it is written directly from his own complete, detailed continuity, and the action, though in narrative form, is made to run along exactly as it does in the continuity.  This, it may be said, is almost the same process which was followed by writers a few years ago, when complete scripts were first in demand, and which we advocate earlier in the present chapter.  But you must bear in mind that the method here outlined 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.