One thing that you should not overlook in making up your list of characters, we repeat, is to show the director how he may cast his available people to the best advantage.  To do this, you should not only mention every character, no matter how unimportant, but in the case of all those characters who do not actually come under the head of principals in that particular picture, you should give the number of the scene or scenes in which they appear.  This will, in many cases, enable the director to use some of his people in more than one character by “doubling” two minor roles.

As an example, let us suppose that you have written down your principals—­the ones who will keep the one part through the whole of the action.  You can then write: 

     Mrs. Brown’s maid, in 9 and 11.[15]
     Trained nurse, in 22. 
     Policeman, in 15. 
     Blind beggar, in 27. 
     Colored porter, in 28.

[Footnote 15:  Meaning scenes 9 and 11.  Of course, you can only make this arrangement after your scenario has been blocked out, scene by scene.]

Here are five minor characters, and yet, if the director desired, he could use only two people to play all five parts.  Mrs. Brown’s maid in 9 and 11 could easily change to a trained nurse for 22.  The actor playing the policeman in 15 could just as easily make up as a blind beggar for 27; and he would then be able to change again and go on as a colored porter in 28, the next scene.

A point that many who are not familiar with the inner workings of the studios do not realize is that although Scene 10, let us say, is “done” on one day, Scene 11 may not be taken until the following day, or even a week later.  It frequently happens that one set is allowed to stand for several days, on account of “re-takes” that have been found necessary, or because a director has difficulty in obtaining a certain lighting effect.  In such cases certain players are required to play the same part over and over again, even though between the “re-takes” they may “work” for other directors in the same studio.

6.  Actual Work on the Cast

You will probably find that the best and easiest way to prepare your cast of characters is to keep a rough list of all the people who take part in the action, as you write the scenario.  Because, of course, although the cast of characters is the second division of the script, it should have its final preparation after the scenario has been completed, for the same reason that the synopsis is also finally prepared when the scenario has been finished.

Keep a sheet of paper beside you as you write your scenario.  First put down the names of all your principal characters so as to have them before your eyes as you write.  Then as you work out your scenario, scene after scene, set down every character introduced; for example, if you use a doctor, who merely pays one visit to a patient appearing in only one scene, set down the following on your memorandum sheet: