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HOW TO WRITE PHOTO PLAYS 139
the program and naturally looks for something which is the opposite of what he can easily secure from the trained authors about him. It is easy to see why a strong dramatic script from an outsider, minus killings, accidents, thrilling escapes, et cetera, would be purchased.
We would suggest that each of our readers who are on the treadmill of rejections look over their late effort and then think over the general trend of productions they have seen within the past few months. After doing that, sit down and truthfully answer this question for yourself: "Didn't you write something that was conventional?" It's more than an even bet that the answer should be "yes" in most cases, and that the scripts you have been looking over are "thrillers."
KEEPING THE SECRET.
When some one tells you he — or very probably she — has a secret to tell you, aren't you just a little bit interested in learning what it is, and doesn't your interest increase if you are not told right away, especially if the secret is hinted at continually ?
That is just how an audience feels toward a photo play upon the screen. When you start to write your scenario you know what it is going to be about if you are a good author. The object in developing its action, then, is to keep the final result from the audience until the proper time comes — at the climax — and to stimulate the interest in the secret throughout by giving hints.
There are far too many subjects reach the screen whose denouement is obvious. Not so very long ago we heard