Moving Picture News (Jul-Oct 1913)

20 THE MOVING PICTURE NEWS For Those Who Worry O'er Plots and Plays McCloskey Interviewed LS. AIcCLOSKEY, script editor for the Lubin Company, of Philadelphia, asserts that one out of a • hundred that submits scripts possesses possibilities of being developed into a screen drama. McCloskey in a recent interview printed by the ^Mirror, is quoted in part as follows: "A scenario to be accepted must have a new idea or an old one in appealing new dress. While literary ability is not necessary to be successful in script writing, one must possess ability, originality and imagination. Education is helpful. The so-called big writers will not be the scenario writers of the future. Their success is largely due to the dexterity or charm of their style, which cannot be caught in the screen drama. Consequently, the picture plays of the future will be written originally for film reproduction by authors who have developed in the scenario field. Quite a few of the ninetynine per cent of unavailable scripts are, or could be, made into fairly good picture plays, but owing to their similarity to ones already released or because they lack atmosphere, impossible for us to secure or produce without unwarranted expense, we are obliged to reject them. Some of these find acceptance at other studios. I can recall many scenarios rejected by us six months ago that we might buy to-day. Every editor can do the same. Very few worthy scripts fail to find acceptance at some time or other at some one or the other of the studios. Fifty per cent of the bad scripts are directly due to the correspondence schools. These schools can readily comprehend from the letters of the applicants that script writing is impossible for them. Yet the schools accept their money and, consequently, we are flooded with useless scripts. The argument of the schools is that, because literary style is unnecessary anyone can write a scenario. Naturally, the idea is the big thing while technique is incidental. But skill and ability are absolutely necessary in selecting and developing an idea. If we considered technique necessary we would not purchase ten scenarios a year contributed from outside sources. I am not an advocate of literary polish in scripts. In fact, I believe strongly in doing away with all unnecessary words." Our Arguments Substantiated The above comments from a very able script editor substantiate in different language, perhaps, the arguments we have been advancing repeatedly from time to time. The idea is the thing; technique is secondary. Mr. McCloskey's statements anent the correspondence schools are forcibly put. On one point we differ from Mr. McCloskey. He says story writers are rarely successful in scenario writing. He says a picture is a raw plot stripped of its literary treatment. This is true. And it is for this reason that story writers are becoming more and more successful in the scenario game. A good story writer is the man or woman who can select and develop an unusual idea, a qualification which Mr. McCloskey highly recommends. Most of them can recognize a strong plot when they see it. They are rapidly learning to strip that plot of verbal ornament and submit it in the raw. A dozen or more fiction stars have made good in the picture play writing field within the past six months, and more are coming, or we miss our guess. However, we contend that they will have to stand on their merits alone, because the literary reputation counts for naught in the film writing game. Merit Sells Them A Chicago script writer of prominence remarks: "That is the proper spirit about the assumed name on the scripts. I find it no easier to sell a poor story than before I was known. I merely get it read occasionally and get a call down for submitting it. It's merit that scll.'^ them." It is merit that sells them, nothing else. .'\nd the man or woman from ".Mudsock"' has an equal opportunity with the Park Row writer, if he or she can deliver salable goods. His Doctrine Endorsed Wraj^ Physioc, manager of Ramo film productions, has been releasing some nifty stuff. He gives the reasons therefor in the following contribution: "The acceptance of the principles of pictureplay technology is advancing by leaps and bounds. For a time our ideas of scenarios were unsupported by recent film releases and by the critics. We will from time to time point out practical examples of successful motion picture plays that embody our theories, by published synopses of our releases. We herewith quote a few prominent authorities who voice our views. Charles Frohman: One of the best signs of the advance in modern technique is the disappearance of the sub-plot. Brander ]\Iatthews: A plot must deal with a struggle. It must allow a clash of contending desires. John Corbin: Thesis plays are false at once to art and polemics. David Belasco: A good rule for the dramatist is to eliminate everybody he possibly can. In this way do we get simplicity and directness. W. A. Brady: A knowledge of the drama of the past will teach us of the drama of the present. Clayton Hamilton: Tell your story to the eye, for action speaks louder than words; this has been the leading principle of the best dramatists. Augustus Thomas: In the theatre nothing is dependent upon our faculty of visualization. It is all done for us. Wm. C. DeMille: Build your pantomime first, then add such words as will relp the picture." And the suggestion of David Belasco suits us the best. Eliminate everybody you possibly can. Get the fewest possible characters and have them go about their plots and plans simply and directly. The fewer the characters the stronger the plot. Pertinent Pointers Keep your head. Knowing where to sell is an essential. If an editor returns your script with a note of advice, thank him. If you can write good plots the editor will remember you without constant allusion to other sales. A script must be written with care and intelligence. No good plot was ever "dashed off." The fiction writers who cannot see the stories they write will never turn out the $300 story, you can bet your life! The writer who sells can originate. Frequentlj' the one complaining of favoritism cannot originate but unconsciously, perhaps, copies other plots. There are many disheartening experiences and disappointments to be encountered along the road to successful script writing. If you have a "yellow streak"' don't attempt the journey. We do our best work under pressure. If a script is ordered and we have to hustle, we get along excellently well. Others write best through painstaking labor and revision. Find out which is the best method for j'our individual case. Infrequently, too much care will ruin a red-hot story. Until recently the editor merely furnished an idea to the director. Now the script is going to the director in perfect working form with every detail decided upon. Maybe some of you can hereafter recognize your own story on the screen. The number of scripts submitted to the studios everj' week has rapidly advanced. Some editors read five hundred a month. The quality has not increased. Is it 3^our fault? New questions are always appearing and new social conditions developing. Get a new twist to the old idea or studj' what is transpiring in various walks of life. Material is necessary for good plots. Cosinopolitan Magazine, highest pay known, generally returns your manuscript within four weeks with a short rejection form. They do not explain why the story is unavailable. Contributors do not expect such action. So why expect the long-suffering script editor to write long letters with every rejected picture story? Editors like to get "first readings." If your script has been submitted elsewhere first, see that its appearance is such that the second editorial reader cannot detect the fact. It helps, simietimes. Careful and thoughtful study of picture plays seen upon