And now a word as to the typing of the continuity, or scenario, for you should do everything in your power so to prepare it as to make its every word quickly and easily understood.

In the first place, we strongly recommend the following method for the mechanical preparation of the scenario: 

When writing the number of your first scene (1), place the indicator at 0 on the scale-bar.  Write all scene-numbers up to 9 at the same point.  When you start to write scene-numbers containing two figures (from 10 to as high as you will go) do so at 0 and 1, respectively.  Now space one, then print the hyphen mark (which will make a short dash), after which space one or two, as the case may be, which will bring you to 5 on the scale-bar.  At 5 start to write the descriptive phrase for your scene.  You should also make 5 your left marginal point for the writing of the body of your action.  In writing the subject matter of each scene, or division, of the action, commence each new paragraph at 15.  In writing “Leader,” “On screen, Letter,” or any other direction intended especially for the director, always start to write at 0 on the scale-bar, in a direct downward line with your scene-numbers.

The result of following these suggestions will be a neat and attractive type-page, upon which the producer will be able to locate the scene-numbers and other directions at a glance, as may be seen from the following example: 

[Illustration: 

LEADER-

  FIVE YEARS LATER TOM RETURNS HOME.

8-Platform of Railway Station. 
     Train pulls in and stops.

Tom alights.  Sets grip on ground —­feels in pocket—­produces Kate’s letter.  Opens it and glances at it again.

ON SCREEN, LETTER-

   DEAR TOM: 

      Remember your promise.  We
   shall be counting upon seeing
   you at Christmas.  Don’t for-
   get—­etc.

BACK TO SCENE.]

The fact that every studio has writers on its staff to make over scenarios which are good but not in quite the correct form for the director, into what are known as “working scripts,” should make no difference to you when writing your script.  Let what you offer to the editor be as perfect as you can make it, regardless of what becomes of it after you have sold it.  Make it, in every sense, a desirable script.

With regard to the proper spacing for a photoplay manuscript, some editors prefer single and others double spacing.  Again, sometimes an editor may have a fondness for double spacing, while the director leans to scripts that are single-spaced.  Our experience has shown, however, that the majority of editors and directors like single spacing for the actual subject-matter of the scene—­the paragraphs of action—­but double spacing between all other matter.  Therefore use double space between a leader and the description of the scene which follows, and between the description of the scene and the action proper.  This method of spacing, when combined with the rule of placing all directions in the extreme left-hand margin, results in a script that is almost sure to be satisfactory, and is certainly attractive, mechanically.