Modern photoplay writing, its craftsmanship; a manual demonstrating the structural and dramatic principles of the new art as paracticed by the modern photoplaywright (1922)

Introduction to the Study 13 proffered plays as well could be imagined. And in practically no instance was any chosen scenario produced as written by its author. Numerous books there were rushed to the publishers which purported to unfold the art and business of scenario writing, most of which ignored the dramatic side altogether and laid undue stress upon the photographic and mechanical elements. Many were the reasons given for rejection of meritorious stories — when reasons were offered — and confusing were these reasons when analyzed; perhaps the star objected to portions of the story, perhaps expense prohibited acceptance, or maybe the producer's equipment was unsuited to do a certain thing in any but a certain manner unknown to the outsider. The cry was raised that there were few "gifted enough" to write scenarios prop- erly, and the assertion was even made that, among our hundred million or more population, there were not a hundred persons with "play- writing ability." Time, as in all things, has sifted the falsehood and misconception from this farrago of cross-pur- poses and incompetent control. Time has shown that there are many persons, a comparatively large proportion, with dramatic ability of the type able to recognize and outline effective photo- plays and, when introduced to the DRAMATIC form and pictorial limitations and requirements, to express their conceptions either by the scenario or in a medium available to the producers. It has shown that the so-called "gift" of the scen- arist, tightly clutched to the breasts of the fifth- grade morons who formerly presided over autho- rial destinies in the industry, is not confined to