How to Write Photo-Plays (1915)

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HOW TO WRITE PHOTO PLAYS 135 rich-quick" schemes with a title attached, it is his own loss; but it does not pay to take such chances, and those who are in the game for a few months know it very well. If one of the recognized companies holds a script for a month or more, don't write in and tell them you either want the script or a check by return mail. You won't get the latter, but you will get the former — and all other submissions for some time to come, unless you write a masterpiece. The longer a good company holds a script — with one o.' two exceptions — the more chance you have of selling it, for the policy of most big producers is to return at once all submitted scenarios that they do not consider worthy of purchase. There are several persons who have to O. K. a play before it is finally accepted, and this takes time. Learn to be a good waiter, and you will register many sales that might have otherwise become rejections. HEAVY STUFF. "He writes a lot of piffle, but his heavy stuff certainly goes big," remarked a man well known in the motionpicture world, as we were watching the unreeling of a certain author's story on the screen. The story in question was hopeless. There was no excuse for its ever having reached the screen, and it must have been "put through" because of an urgent demand for subjects by the company which made it. The statement, however, is significant. It is possible for any person to "land" a script occasionally which is not fully up to the standard if at other times his work is