Picture Play Magazine (Mar-Aug 1916)

Hints for Scenario Writers 121 them herewith, without comment, as they carry their own message : There is probably an army of five hundred thousand men and women in this and other countries to-day who are ambitious to become writers of the photo play. Out of that great number, perhaps a few hundred are consistently successful. Why? Because an idea seemingly prevails that the profession of photo-play writing is an easy one ; that all that is needed is a typewriter and some paper and — then to dash off a comedy or drama and await payment thereafter. Never was there a more mistaken conception ! The profession of photo-play writingis not an easy profession. Long study and experience are necessary before one can succeed in other professions, and yet men and women will not understand that the art of creative writing is as difficult a profession. To succeed as a photo-playwright, or as a writer of fiction, one must possess the power of observation ; one must have acquired an insight into human nature; one must have talent of originality; and, also, one must have the power to put down on paper that which he sees. ONE' DANGER. Very often, when working over a plot, an author comes to a certain point where he seems to travel in a circle. He works harder, perhaps, than ever before, and yet he can make no headway. He builds up carefully a certain line of development, only to find that he has to discard it because it leads to what he is trying to avoid. Then his mind refuses to penetrate the darkness which envelops what he believes to be the right road, and, try as he will, he cannot effectively concentrate on the plot. The best thing to do when in a position like this is to put away all work and forget it for the immediate present. It may be a rush order, but one certainly can gain nothing by trying to work when the mind is confused. A half, or even a quarter, of an hour's walk may bring one back to the work refreshed, or a longer period of relaxation may be required. Some say that one must either master one's plot at once or be mastered by it, and this is largely true. When one gets off with a flying start on a story, he will probably glide easily to the finish, even though the story may be most exceptional when finished. At other times, when the main idea is hard to secure and the development has to be forced, one may do what he considers his very hardest and very best work, and when he looks over the script find that he has created the worst sort of stuff. Each writer must understand himself in this matter. He must study his peculiarities and learn how he can best avoid this danger. It is purely an individual problem, and, like others we have referred to in the past, must be treated by each individual. The best we can do is to call it to the attention of all our readers and offer general suggestions on the matter. SCENARIOS AND COPYRIGHT LAW AGAIN. Senator Boies Penrose, of Pennsylvania, has introduced a bill into -Congress, which, if it goes through, will so amend the copyright laws that motionpicture scenarios will be subject to copyright, the same as unpublished books and unproduced plays written for the speaking stage. It is provided that any person entitled thereto under the provisions of the act may secure a copyright for a scenario by typewriting the same with notice of copyright as required, and such notice must be affixed to each copy of the scenario published, typewritten, or offered for sale in the United States by authority of the copyright proprietor. It is further stated in the bill that if it be enacted into law. copyright may also be had on a scenario by the deposit of two typewritten copies of the title and description, with cast of scenes without prints or other identifying reproductions thereof. After copyright has been secured by the publication or