Moving Picture News (Jul-Oct 1913)

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i6 THE MOVING PICTURE NEWS For Those Who Worry O'er Plots and Plays Takes It Seriously HOMER sang his lays of Greek heroes for the same reason the classic fishmonger peddled fish. Gouverneur Morris, novelist and short-story writer, has it figured out that way, at least. "The successful literary worker is he who takes writing seriously. He studied the public as a means of making a living," said Morris recently. "He studies the public with the idea of finding out what the public wants. Then, in accordance with worldold rules of economics, he sets about to supply the demand. The public wants to be amused as well as educated," said Morris. What Morris says regarding fiction writing is applicable to moving pictureplay-writing. The work must be taken seriously for it is no child's play. The sooner the beginner becomes relieved of the notion that plot writing is just as easy as anything in the world and that all that is required is just to "scribble off" something, the sooner will he have cut his eye teeth. Take it seriously, writing pictureplays is a man's work. As to Titles ''I have witnessed many pictureplays the titles of which were entirely inappropriate," writes in a well-known critic. "I would not like to have my titles changed for I spend a great deal of time and earnest thought upon them. But, if in the opinion of the editor or director they do not fit the story as well as one they could choose, I would be willing and thank them for it. I do not think sufficient attention is given titles." Many editors are prone to let any old title suffice and this is a mistake. Titles should be attractive and, at the same time comprehensive and appropriate. Lacking the Punch A St. Louis scribe writes: "Your dissertation on 'nicelooking scripts, but ' hits the nail right on the head. For a year or more I paid more attention to the appearance of my scripts than I did to what they contained. I revised and revised and red-inked and indented until I had revised all the life out of my stuff and had a manuscript that for appearances was certainly a work of art. Of course, it is understood that scripts should appear neat, clean and proper, but, at the same time, there is such a thing as making them entirely too proper. By this I mean that painstaking craftsmen will sometimes sacrifice everything to technique and appearance and unconsciously lose the 'snapper.' At least that was my case, and your paragraph in a recent issue of the News was the first treatise on this habit that ever came to my observation. Be careful with your revisions and do not revise the indefinable something called the 'punch' from your stories. I find that I work better right off the bat in the first flush of work and that when I go over it cold. I am apt to ruin the story." It is a fact that many literary workers are better "right off the bat" to quote our correspondent. Their inspiration comes in the first writing and it is better to leave it so. Others are what are termed "cold workers" and their stuff is best when gone over carefully several times and rehashed. The same rule applies to newspaper writing. We have known reporters to sit at a typewriter and knock off a tip-top story while others must rewrite their introduction or "lead" several times before the "right hang" comes along. Of course, in daily newspaper work there isn't time for much revision, but many never learn the knack of writing a story off-hand. They must go over, at least the "lead," several times before the follow-up comes hot. Work the way that brings the best results to you. The Credit Question Again An author in taking us to task for urging credit to the author of the pictureplay on screen, poster, and in trade journals, says that we should urge better prices for authors because all the author needs is a good name with editors and producers. Surely, an author needs a good name with editor and producer, that is perfectly understood. But nevertheless the writer might be able to ask better prices for his work if the public liked his pictures and applauded when his name appeared under the title. Then again, we are for a fair field and no favor for any script writer. It has been customary to flash the long name of one certain writer over every plotless Civil War drama ever released by one certain concern. The writer had little to do with producing the dramas which called for work on the part of the director, not the author. Here is one notable instance where credit was not equalized. If this man is entitled to credit on the screen hundreds of others are also entitled to recognition. We think like Captain Peacocke that credit on poster and screen will come sooner or later. In order to be impartial why not use the names of both the author and the director? He Says It Is "Rot" Here is a hot one from a director of moving picture plays: "All this hue and cry about editors editing and directors directing is plain 'rot.' Just so long as there are artistic directors employed, just so long will the director, who has to shoulder most of the responsibility, work his pleasure with any script that he likes. You can take it from me that there will be no editors handing out scripts with orders to produce exactly as written. That would be an impossibility for many of the best producers of this day and age. We directors must have latitude and we must rise or fall by the results of our individual working ideas, not what some script writer or editor thinks should be our ideas. The editor is the presiding genius at a sort of clearing house. He should know the best work of every director employed and furnish him scripts best suited for his ability. If the director likes an idea contained in a script and accepts the script and pays for it, it is up to him to make the picture. If he wishes to change the action radically, it is his privilege and will be just so long as there are artistic directors. I repeat that this discussion about directors directing and editors editing is 'rot.' Of necessity, the director will continue to edit about as he likes, responsible only as to the merit of the stuff he turns out." There was more to the above letter, but we print the kernel of it. Anybody else wish to join in the argument? It is free for all. Now $100 "Weekly A school for photoplay writers located at Washington, D. C, urges all to "earn $100 weekly writing motion picture plays." We assure you that we will do our best. ■We Believe It Several Universal directors are quoted with asserting that they find it impossible to obtain scripts worthy of serious consideration. We are inclined to agree with them particularly anent that slap-stick stuff being released. The English Markets We have received several inquiries recently anent English markets for script writers. Submit your stuff to American markets. Better prices are paid in the United States and better treatment is accorded authors. And then it isn't necessary to spell wagon with two g's when sending scripts out to roost in Uncle Samuel's dornain. Pertinent Pointers Include a pair of postal scales in your desk supplies. If there is a job printer in your town or city, chances are that you can purchase good stationery cheaper and have it cut just as you wish. Writing is plain drudgery to some. However, it must be done in order to succeed. Be systematic and compel yourself to write so much every day. There was never a splendid piece of literary work turned out that did not conceal toil and trouble. The only way to write is to write. Keep writing and then write some more. Not necessarily for publication or • production but for experience and practice. Only send out that which you think is your best. If you wish to withdraw a script, write that you withdraw the script to submit elsewhere and shall hold the company responsible if the script is used. Register your letter. Do not imitate any style of script. Be original and have a style of your own. Of course there are certain