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HOW TO WRITE PHOTO PLAYS 97
of the training — from the knowledge-absorbing point of view — depends on the writer's individual effort.
Are you, scenario writers, big enough to look past the surface appearance of your work, and see its weak and strong points ? Are you big enough to map out a course of training for yourself, whereby your weak points may be brought up to the standard of the rest of your work, and by which the worth of your output may materially increase with each production of your brain? It is up to you, for we — or any one else— can merely give you suggestions here and there, which, when applied to your own work, will awaken new thought in your mind and help you in your training.
UNIQUE ENDINGS.
For a long time the progressive critics and writers on motion-picture subjects have advocated unusual endings, and we firmly believe that the majority of writers, amateur and professional, agree with this movement.
The "nigger in the woodpile," however, is the application of this theory, for it seems to be a habit with scenario writers to forget all about it when they reach the last few scenes of each script they turn out, and go right through to the ending which every one was expecting.
In the amateur's case, this is easily explained, for he is so busy visualizing his action into scenes that he forgets all about the ending. In the case of the professional, however, it is different. He should see that every play's ending is given more than a little consideration, and, while