How to Write Moving Picture Plays (1915)

10 HOW TO WRITE MOVING PICTURE PLAYS Section 3.— WHAT IS A PHOTOPLAY? A photoplay is a story told in photographic action. Dialogue or conversation cannot be used. Therefore, the entire story must be unfolded to the audience by the “scene action” alone, unassisted by words other than an occasional Leader. (See Section 17, Leaders, or Sub-titles.) All emotions must be expressed by movements of the body, gestures, or facial expressions. Mabel, our frantic heroine, cannot exclaim to the villain, “Jack Howard, tell me where my chee-ild is or the setting of yon sun will seal your doom.” In the photoplay Mabel points to the empty cradle stretches forth her hands in appeal Jack repulses her Mabel seizes a broom and does not wait for “the setting of yon sun” to emphasize to the audience the real meaning of “scene action.” Mabel’s lips are in constant action, proving to us that she is talking in true, womanly fashion; but her expressions, gestures, and actions must supply the absence of words, leaving the audience in no doubt as to her entreaty, love, hatred, submission, revenge, hope, or despair. The photoplay is therefore WRITTEN IN ACTION instead of dialogue or story form. Picturesque descriptions and clever conversation are essential to the magazine storyr, but are NOT WANTED in the photoplay. The technical form of the written photoplay, required by the film-producing companies, embraces the Title, Synopsis, Cast of Characters, and Scenario. These four features are fully explained in the following pages. Section 4.— PRICES PAID FOR PLAYS. Good plays are in constant demand, and at high prices, ranging from $5.00 to $100.00 and MORE, based strictly upon their merits, originality being one of the chief factors of success. Some prominent producers claim to pay as high as $300.00 for good three-reel plays. However, do not strive for these higher prices until your success is assured in the “$10.00 and $25.00 class,” and then work for the higher figures. We believe that $25.00 is a good average for a one-reel play, $50.00 to $100.00 for a good two or three-reel story. Some producers are turning out four and five new plays every week; there are about twenty prominent producers, many other smaller ones, and new companies being organized every year, making a constant and everincreasing demand for good plays. These companies are just as anxious to receive a clever play as you are to write one; it may mean $50.00 to you, while to them the profit on this one play may total $5,000.00 or more. I believe the time is not far distant when prices for good photoplays will be much higher than at present. It is therefore an advantage to establish your work now, if possible, and be a recognized playwright when this advance arrives. Section 5.— QUALIFICATIONS NECESSARY TO WRITE PHOTOPLAYS. An imaginative mind, quick to grasp possibilities and original situations, putting them in shape to be acted in pantomime for production on a screen. The play must therefore be produced clearly, enabling the audience to grasp the situation quickly without the aid of words. THE SCENE ACTION MUST BE THE EXPLANATION AND TELL THE STORY. Remember that your characters do not talk, and the acting must be very pointed, leaving no doubt in the mind of the audience as to any particular situation or development. “John goes to the window, looks out, goes over to door and bolts it;” this is vague and meaningless. But if “John goes to window, looks out, startled, rushes to door, quickly bolts it, seizes revolver from table” — does it not convey that danger is approaching? The facial expressions, gestures, and movements as the story advances must take the place of words. Scenario Editors do not care whether you are a graduate of Yale or a street-peddler, a renowned clergyman or a side-show barker; all they want is a story that is “something different.” It is claimed that famous musicians and artists are born, not made. I claim, however, that photoplaywrights are made after they are born. No one can be taught to create ideas, but anyone of ordinary intelligence can make a study of photoplays, take notes of every interesting idea suggested by a book, newspaper item, or daily event, and, by cultivating his imaginary power, develop it to the extent where he will be able to form picture plays. Section 6.— KIND OF PLAYS TO WRITE. Try to emphasize acts of honesty, faithfulness, perseverance, courage, truthfulness, charity, devotion, firmness of character, true friendship, self-sacrifice, thoughtfulness, worthy and ambitious struggles for success in love and business. However, just as good are the stories portraying the folly and penalties of dishonesty, unfaithfulness, cowardice, untruthfulness, lack of devotion, weakness of character, selfishness, haughtiness, carelessness, waywardness, unworthy struggles for success, and similar themes. In practically every story there should be an element of rivalry with one or more obstacles to overcome, whether it be a tale of war, business, or love. The public likes a struggle, where there are difficulties to master, regardless of ultimate conquest or defeat; and is more interested in stories of modern life than in the heroic tales of past ages. When possible, have some moral to your story, and you may be preparing an effective sermon for someone, a sermon that will be illustrated before millions of people. It is best to give your story a happy ending. Life contains enough of real tragedy, and it is far better to have John marry Helen and live happily ever afterwards than to send your audience out of the theater after witnessing John hurl the villain down a hundredfoot embankment, only to find that Helen was untrue and had eloped with a former suitor. Comedy is in greatest demand and brings the highest prices; this is because real good comedy is the most difficult to prepare. But should your inclination run towards drama, pathos, romance, historical, melodrama, Western, cowboy, Indian, or biblical, direct your work in the channel you prefer, giving it your very best efforts, and you are more likely to succeed than were you to attempt something not suited to your taste or ability. “A tragedian can never be a comedian;” or, if you have spent your entire life among cowboys, you would hardly be capable of writing stories around society life in New York. If you have been reared in the city, do not try to write regarding country life. You might be like the city girl who wrote about the farmer lad placing a halter on the hog and leading it to the stable; or the “rural route lassie” who wrote about the office man in the big city walking up ten flights of stairs to his office every morning, instead of having her poor, fatigued hero