7.  Writing the Scene-Plot

The actual writing of the scene-plot should come after the scenario has been completed.  One way of doing it is to go over the scenario and write out the various settings, and then give the numbers of the scenes played in each.  This, however, is a very roundabout and tiresome method.  The best and simplest way is to keep a slip of paper, similar to the one on which you make note of the characters when writing the cast, and jot down the settings as you come to them, adding the number of the scene.  In this way as you work on the scenario you have before you a list of every setting used, and can see at a glance what scenes are played in each different setting.  Then when your scenario is finished you have simply to slip a fresh sheet of paper into your typewriter and make a neat copy of the complete scene-plot.  As a safeguard, it is better, before recopying, to check up so as to make sure that you have every scene accounted for, by counting from “one” to whatever may be the number of your last scene.

In writing the scene-plot it is only necessary to give a list of the exterior and the interior settings; at the same time, it is sometimes advisable, especially in the case of exterior scenes, to add a few words that will help the director to understand just what the setting is intended to be without having to refer to the scenario, where such details would naturally appear.

The following example is selected from the scene-plot of “Sun, Sand and Solitude,” a scene-plot diagram from which we reproduce on a succeeding page.  The theme of this story is the discontent of a young wife, caused by seeing, month in and month out, the sun-baked stretches of the Arizona desert.

     Exterior, showing desert, 17.  For this scene, select an
     extremely barren and unpleasing bit of desert landscape.

     Another exterior, 24.  A stretch of desert landscape; if
     anything, more barren and solitary than 17.

     Another exterior, 28.  While still typical desert landscape,
     it is much less barren and desolate than either 17 or 24.

There is no law of writing, and no studio rule, to compel you to do any of these little things to help a busy editor or an earnest director, but, just because they are busy men, why not try to help them?  So long as the “help” is not overdone, and is intelligent, clear, and concise, it is sure to help your script toward an acceptance.

[Illustration:  [diagram]]

The scene-plot diagram reproduced on the opposite page is the author’s original diagram for the “Living room of ranch house” setting in his photoplay, “Sun, Sand and Solitude.”  With a little study of this diagram the reader will be able to judge just how the scene would appear in the picture on the screen.  Of course, it is neither customary nor necessary to send such a diagram as this when you are submitting