Moving Picture News (Jul-Oct 1913)

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THE MOVING PICTURE NEWS 17 rules of technique that are essential, but every literary worker has little peculiarities that crop out in work and that are original. When you study the scripts of others you are apt to imitate in a laudable endeavor to become successful. Lay out your own scripts the best you can and do not depend too much on others. In other words, learn to stand alone. About two out of every three letters we receive from beginners contain questions about trick effects and in two out of every three answers we send to beginners we urge them to leave trick eifects alone and stick to the simple plot. Mechanical tricks involve a great deal of work and editors and directors are not partial to those scripts which abound in "dissolves," "fades," etc. Don't relate your story as a dream. This idea is as old as Methusela, anyhow, and has been worked to death. Please do not write questions on post-cards and send them in. We do not like post-cards, that is, unless they are of the souvenir variety, which we like to receive from friends. Write a letter and enclose an envelope stamped and self-addressed. We conduct the only department in which good, honest advice is given by mail without fee or favor. You ought to appreciate the service sufficiently to write under and enclose a two-cent stamp. \es, yes, Keystone is the only company we know of that wishes the synopsis only. This does not mean that a short story is desired; it means that the editor wants real ideas in brief narrative form and perhaps with a 500word limit. Because Keystone reads synopses only does not signify that all other editors wish ideas submitted to them in that manner. However, we have an idea that the synopsis form of story will become more popular before so very long. The Solax Co., Fort Lee, N. J., is in the market for high-class comedies and emotional dramas. The editor of Solax recently stated that good ideas were scarce, and that only a few seemed to observe the technical requirements, and that nine out of every ten scripts bought had to be rewritten. This takes work and brings down the purchase price. Gaumont, Pathe, Thanhouser and Warner Features are not in the market for scripts. Editorial Etchings Miss Birch is now editor for Vitagraph, succeeding Mrs. Breuil. Will M. Ritchey, formerly city editor of the Los Angeles Express, is now head of the Lubin Western script department. Hall Caine has promised to write plots for LieblerVitagraph Feature Film Co. Needless to say, his name will appear on the screen. Carolyn Wells is another well-known writer of fiction who has turned to moving picture play writing. She is receiving much advertising. Eugene Valentine Brewster, editor of the Motion Picture Story Magazine, takes a camera along when he goes vacationing. George Blaisdell, the well-known writer, sends us a souvenir post-card from the wilds of the Empire State, where he has been enjoying a deserved vacation. A. W. Thomas, now editor of the Photoplay Magazine, formerly conducted the script writing department when the magazine was edited by Neil G. Caward. A Poser From Posner Mr. George A. Posner is sharp and to the point in this one: "A check in payment for a script is a practical acknowledgment to the writer, whoever he may be, that his work has surpassed the 'efforts of thousands of just as earnest brother writers, editors of experience, staff and contract writers,' otherwise it would not have passed. Therefore why the fifteen-dollar check?" You can search us! Lincoln StefFcns' Method There is another communication from Mr. Posner which we think worthy of another paragraph. He writes: "Mr. Lincoln Steffens, the noted writer, in a recent letter, wrote me some advice that has been of such help to me that I pass it along for the benefit of the script writing fraternity. 'It is an unusual success you are having. Take it. Take it a« you are taking it. Enjoy it. Don't be afraid of being spoiled by it. You won't be if you keep working, working, working. And let me tell you a secret: The men in our profession who use well their first success carry it on to achievement — through work. They work hard. They are seen mostly at play and they don't let on that they work. But they do. By work they attain their art. They read, they study, they think, they fail. So don't be afraid to work with all the might you have in every little thing you do. Be your hardest judge. Don't linger too long over a thing that is done. Enjoy it, as I say, for a minute; enjoy it to the full. Then drop it. It is done. Drop it, and go on with the thing that remains to be done. And for the rest, study the thing that is nearest to you. Study it. Dramatic ideas are found in the most humble surroundings. Study and watch for tbem.' " And Lincoln Steffens' advice has been the keynote for the success of many. Hard work and lots of it. Years of toilsome newspaper work taught Steffens the full significance of the word, writing. His words are inspiring. How true it is that the outsider frequently inclines to the belief that the literary worker does little or nothing to merit success! Literary workers are seen mostly at play. We v;ere taking a little vacation "flyer" recently and a newly formed acquaintance said: "Well, I don't see how you find time to turn out all the stuff you do." We do turn out lots of stuff, such as it is. It takes constant work. We have one week of leisure in fifty-two. The other weeks are filled for us. We average ten hours daily, seven days to the week. You must work hard in any line if you would succeed in it. Work and not genius, so-called, is what counts. Universally Important We stop the press to announce that the Universal Film Manufacturing Company proposes to give credit on posters to legitimate authors of picture plays. This is an important ruling, and will result in Universal getting first readings on some classy scripts. We shall have further comment to make regarding this action next week. In the meantime, on behalf of aspiring picture playwrights, we hasten to congratulate Universal and its script staff, particularly Captain Leslie Peacocke, for helping along a creditable move. "Stick to It" A line from Will T. Henderson: "'Stick to it' are the proper words, and what a world of wisdom is bound up in those three little words, all praise be to Mr. Henry W. Mattoni. Many the times, when scripts have come merrily 'back home to roost,' I have felt inclined to let them 'roost.' But all of a sudden a 'still small voice' says 'stick to it,' and so I have. Of course, we all love our children — even unto the children of our brain, and, as a rule, we feel kindly toward them. But when we send out 'children' on an errand, we are prone to feel just a little vexed if they do not accomplish the errand for which they were sent, not stopping to realize that frequently their inability to accomplish their object, more often than otherwise, is our own fault through lack of proper and intelligent instructions." This simile seems apt to us. Too often the children of your brains are sent forth but ill prepared to perform their intended errand. They need more careful preparation for the journey about to be undertaken and, instead of vague instruction, they should be sent forth to perform their missions in a clear and expeditious way. WM. LORD WRIGHT. Mr. Lester Park, formerly of the Columbine Film Company, now district manager for Warner's Features. Inc., has been carefully investigating conditions around Dallas and Kansas City. He reports a lively interest in the forthcoming features to be released about the 15th of September through Warner's program. The Kansas City office has taken enlarged quarters on the fourth floor of the Gloyd Building, and it has been fitted up with everything needed to make it a big exchange.