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What length, style and purpose does Phillips (1914) prescribe for the synopsis, how does his specimen synopsis measure against his own figures, and how do his numbers compare with the 250-word and later figures in Esenwein and Leeds?

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Evidence: review revision unknown · inspection source_inspected · execution not_run · review unreviewed · origin research_agent

Phillips defines the synopsis as an abridgment of the scene contents, to be 'terse, crisp and suggestive', reduced from thousands of words of scenario to a few hundred. He reports a studio convention of 250 words, but declines to make it a hard rule: clean plots can be told in fewer than 100 words, subtle plays need more, and the instruction is to use as few words as you can. Its job is first to sell the manuscript to a hurried editor and then to guide the director. By my count the specimen's own synopsis is 442 words, well over the 250 convention. Esenwein and Leeds (as relayed) record the same 250-word convention as an earlier-era demand and, in 1919, 'as many words as are really needed', plus 150-250 words for a short second synopsis and 6-12 typed pages for features. Label: 1914 practice. Excerpts drop Gutenberg italic underscores and collapse line wraps.

Phillips defines the synopsis as an abridgment of the scene contents, to be 'terse, crisp and suggestive', reduced from thousands of words of scenario to a few hundred. He reports a studio convention of 250 words, but declines to make it a hard rule: clean plots can be told in fewer than 100 words, subtle plays need more, and the instruction is to use as few words as you can. Its job is first to sell the manuscript to a hurried editor and then to guide the director. By my count the specimen's own synopsis is 442 words, well over the 250 convention. Esenwein and Leeds (as relayed) record the same 250-word convention as an earlier-era demand and, in 1919, 'as many words as are really needed', plus 150-250 words for a short second synopsis and 6-12 typed pages for features. Label: 1914 practice. Excerpts drop Gutenberg italic underscores and collapse line wraps. Curator qualifications: The 250-word synopsis convention is Phillips's; the specimen's 442 words is the worker's count and reproduces. Evidence status: curator/producer inference or synthesis from the cited sources (code read, not executed, where code is cited); correlated desk review (Claude); not independently reviewed.
Structured fields
{
  "citations": [
    {
      "url": "https://www.gutenberg.org/cache/epub/70937/pg70937.txt",
      "note": "candidate evidence excerpts"
    }
  ]
}

Evidence claims

  • [inference] Phillips defines the synopsis as an abridgment of the scene contents, to be 'terse, crisp and suggestive', reduced from thousands of words of scenario to a few hundred. He reports a studio convention of 250 words, but declines to make it a hard rule: clean plots can be told in fewer than 100 words, subtle plays need more, and the instruction is to use as few words as you can. Its job is first to sell the manuscript to a hurried editor and then to guide the director. By my count the specimen's own synopsis is 442 words, well over the 250 convention. Esenwein and Leeds (as relayed) record the same 250-word convention as an earlier-era demand and, in 1919, 'as many words as are really needed', plus 150-250 words for a short second synopsis and 6-12 typed pages for features. Label: 1914 practice. Excerpts drop Gutenberg italic underscores and collapse line wraps. · locator: candidate evidence excerpts source

Rights

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