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142 HOW TO WRITE PHOTO PLAYS
script in his life, and that everything he had sold had been disposed of just as it was when he first wrote it. He admitted destroying several scripts which had been rejected by all the companies on his list.
This is a sad example of an author who, though capable in many other ways, has never added to his list of accomplishments the ability to rewrite. He would be useless in a studio, therefore, where men of good, allaround ability are needed who can write and rewrite as ordered. There is no reason why every author or author-to-be should not know how to take a rejected story and turn it into something so utterly different and superior that it is sure to sell. It is simply a matter of allowing your mind to become elastic and keeping it in this condition at all times. A character can be dropped out of any story, or any of the action — even the climax — taken away and something else supplied which will better it, if the writer who does the work is capable.
EFFECTS AND PLOTS.
Effects gained by suddenly springing dramatic climaxes are one thing, and honest-to-goodness plots are another. Many beginners get them mixed, and think that, because it would be very dramatic to have the hero dash into the sitting room just as the villain was about to kill the girl's father, the story has a very strong plot.
In every writer's mind these things should be kept distinctly different. He should keep clearly before him the fact that the plot of an acceptable story contains everything which, when elaborated, catches the attention of the