We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
88 HOW TO WRITE PHOTO PLAYS
have been released in the magazine, and then read one of your own synopses. Analyze them, and decide just why the "live" ones were accepted and yours was rejected. Maybe yours will be the best, in your honest opinion. That is possible, and if you find this to be the case, learn just why it is better, and then fix up the points that are weak and send it out again.
Follow this course all the way through your rejected scripts — if you have more than one — and you will probably learn many things which never occurred to you before. You need not consider the time wasted, even if you cannot find anything worth while in your "dead" scripts, for, remember, you have received your first editorial training, which is worth something, and may prove beneficial in the long run if repeated often enough. There will always be a demand for editors as well as for writers, you know, and it is well to be prepared.
HELPFUL TO DIRECTORS.
While we admit that many directors consider suggestions from the scenario writer a nuisance, we feel we are right in saying that the majority of real producers welcome suggestions from the man who has created the story. In the cast of characters, it seems to us that a line or two of condensed characterization is permissible. This does not mean physical description of a character, by any means, for almost any actor is liable to be cast for the role if the scenario sells to a big company.
We do think, however, that by giving some important physiological feeling of a character, or even telling what