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92 HOW TO WRITE PHOTO PLAYS
author realizes that scenario writing is a commercial proposition, the sooner he will advance.
While this talk is meant particularly for our brother writers, it also applies to sister scenarioists, though the latter, as a rule, are more thoughtful about the disposition made of money earned with their typewriters and brains.
When studying the screen, be sure to get both the good and bad points of a plot. If you only get one or the other, your work is half done.
FIVE-REEL FARCES.
Whatever you do, don't try to write a five-reel farce comedy if you are a beginner, or unless you are a master of the art of writing this style of comedy.
We saw a beginner's effort along this line the other day, and it almost made us weep. He had taken "Way Down East" and "East Lynne" and tried to combine and burlesque them. The plot was a nightmare, and the scene action far worse. We told him we were going to write this after we had convinced him how wrong he was, and he gave us permission to make it as strong as we wished, if it would help others.
To begin with, he didn't have footage enough for one reel, there being one hundred and thirty-nine scenes, about fifty of which an experienced comedy director would "kill" on the first reading, and about fifty more of which would be found impractical for comedy purposes when production was actually begun. Then there was little real humor in the entire proposition. It was clearly