We have repeatedly advised the would-be photoplaywright to study the pictures as he sees them on the screen, and to gain therefrom a knowledge of what is required by the manufacturers.  At this point, however, we would warn writers not to copy the example of certain companies whose pictures are nearly always overloaded with sub-titles which appear to have been introduced for no other reason than to afford the sub-title editor an opportunity to do some clever writing.

Many critics have asserted—­not entirely without cause—­that the type of photoplay comedy-dramas originated by Douglas Fairbanks are less than one-half action, the rest being merely clever but often unessential sub-titling.  While this criticism is rather severe, it cannot be denied that certain stories of the kind mentioned, featuring this star and others, have been far too dependent for their appeal to the spectator upon the humorous, epigrammatic sayings of the characters.  True, it is usually after leaving the theatre, and reviewing the picture in retrospect, that the spectator realizes that the accent has been too definitely on the sub-titling and not enough upon the action, but when he does realize it, he feels disappointed—­and watches the next release featuring the same star to see if it will be repeated.  More than ever before, in this day of feature photoplays, there is a constant opportunity to use leaders and other inserts with telling effect.  The point simply is that with more leeway than the writer has ever been given before, you should learn to take advantage of every shining opportunity to work in a really effective sub-title, while constantly guarding against the temptation to introduce one on the slightest excuse.

Let such inserts as you do use be phrased in clear, terse language.  The old example in the schoolbook, that it is simpler and therefore better to say, “A leather apron” than, “An apron of leather,” holds good with inserts, and especially leaders.  Short, clean-cut sentences strike the eye and penetrate the mind the most quickly and effectively.  If you doubt this, look at a good advertisement.  So do not only dispense with every needless insert, but cut out from each insert every needless word.

3.  The Danger of Over-Compression

In cutting, do not go too far.  Use enough words to be clear and definite.  Vagueness is an abomination and confusing pronouns make an author as ridiculous as his scene is unintelligible.  Remember that the leader is shown on the screen for only a moment, and it is for you to assist the spectator by making your leader so plain “not that it may be understood,” as Quintilian used to say, “but that it must be understood.”

It is quite as possible to use too few inserts, especially leaders, as it is to use so few words in them as to mar their meaning.  Young writers are often more eager to follow the advice of their mentors than they are bold to use their own common-sense; and having had the importance of brevity well pounded in, they produce scripts with the double fault of not having enough action to make the plot clear, and not enough inserts to help out the action.