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Updated: May 7, 2025
Go-as-you-please composition may be possible for the novelist, perhaps even for the writer of a one-act play, a mere piece of dialogue; but in a dramatic structure of any considerable extent, proportion, balance, and the interconnection of parts are so essential that a scenario is almost as indispensable to a dramatist as a set of plans to an architect.
Its success was largely due to the fact that Andre-Louis amplified the scenario to the extent of indicating very fully in places the lines which the dialogue should follow, whilst here and there he had gone so far as to supply some of the actual dialogue to be spoken, without, however, making it obligatory upon the actors to keep to the letter of it.
Hammond, president of the Alectrion Film Corporation, had already made several very successful pictures. It seemed that her work in life was to be connected with the silver sheet. Even Uncle Jabez had acknowledged Ruth's ability as a scenario writer, and was immensely proud of her work when he learned how much money she was making out of the pictures.
Then he thought of the abrupt petulant shift of the conversation to a tacit moodiness and the Laotian suddenly seemed grotesque and alien to him; the scenario of leaving the city limits with him vastly peculiar; that peculiarity seeming as if it were happening to someone else or viewed from a staticy television broadcast; and although acknowledging that all strangers remained such, unless communicated with and entrusted to be more, he wanted to flee the unknown cravenly and return home on that train which had taken him here.
This occurred on the first day of my sojourn, when my play-writing energy was at its height and I regarded the incident simply as an annoying distraction the waste of five minutes. I returned to my scenario.
"Grimes is a very rough and unpleasant man; but he gets there. He is one of the most successful directors Mr. Hammond has working for him." "You have mentioned Mr. Hammond before?" said Ruth, questioningly. "He is the man I will show your scenario to." Then she added: "If I am still working for him. Mr.
Ruth said in conclusion: "If he was there at the mill the day my story was stolen, and now submits this scenario to Mr. Hammond and it is merely a re-hash of mine, Tom, I assure you " "Of course I believe you, Ruth," rejoined the young fellow. "Mr. Hammond should be convinced, too," said the girl. But there was a point that Tom saw very clearly and which Ruth Fielding did not seem to appreciate.
"Yes, the scenario department is on the third floor across the court, above the laboratory and cutting rooms." "Who else is in the building here?" "There are six rooms on this floor," Werner replied. "Manton, the waiting room, myself, Millard, and the two other directors. Below is the general reception room, the cashier, the bookkeepers and stenographers."
"That wind is 'nough to lift the roof." "What is the matter, Ruth?" demanded Helen. But Tom ran out after her. He saw the girl leap from the porch and run madly down the path toward the summer-house. Back on the wind came a broken word or two of explanation: "My papers! My scenario! The best thing I ever did, Tom!" He had almost caught up to her when she reached the little pavilion.
"But that only goes by worth. We will see what a schoolgirl like you can do in writing a scenario. It will give you practice so that you may be able to handle something really big about this beautiful old place. You know, now that the most popular writers of the day are turning their hands to movies, the amateur production has to be pretty good to 'get by, as the saying is."
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