Picture Play Magazine (Oct-Nov 1915)

PICTURE-PLAY WEEKLY 31 ods, give him a chance to get from ce to place and dressed. In writing a photo play, keep this tto tacked to your eye shade : It st at all times entertain. When finally the script is finished, sit wn and pick out a square on the wall, sualize the entire play in it, try to : your characters acting the drama, agining you are looking at the screen, eaks in continuity can be picked out, " you see properly, and you will see jr brain child as others will see it — ybe. You can at least give it the . rit self-criticism possible, as by merely iding, breaks, lack of plot, and inest will escape you, but with a clear ■ " ualization and strong imagination, u will probably arrive at a conclu»n, whether it is worthy postage or that is, if you are honest with ? nrself. 'Put your own work in the script, not : gleanings from others. If you don't re to work, and work hard, don't try write. ''Try to put your individual person. ty and imagination into your work ; !J you succeed, it will give it fresh lor. If you have not a strong imagition, don't write, save the energy for ings that will benefit you. Suppose u thought that writing music was a Dney-getter, and you didn't know a ■te, and were not gifted musically ; 3uld you compose music and expect to be accepted? ' Be fair to yourself. If you have not e writer's adaptability toward writing, Ihy try? It will only get editors sore, id show you up. Even for a person ho can write, it takes hard work, ick-to-itiveness, perseverance, and udy. For one not adapted, it takes a iracle, and the age of miracles is past." Answers to Readers. George R. Averill. — By watching our arket tips, under the caption of "Liveware Market Hints," in every issue of e department and saving them you ill be able to find a market for your ripts at all times. D. Atkinson and N. Lebowitz. — Both )ur questions are alike, so we'll anver them together : There are one ousand feet of film to a reel, and there ust be enough action in a one-reel 'enario to make that footage. Likeise with two, three, and more reels, atch the amount of action in all sub jects you see on the screen. It will prove a wonderful help to you. Richard H. SloAn. — A sample scenario appeared in our issue of July 24th, which may be secured at the regular price from the publishers. See answer to the above pair for the number of feet in one reel. When you appear to be looking through field glasses at somel action on the screen, it is the "camera mask" at work. The effect may be gained by calling for a camera mask to represent field glasses. It is a scene by itself. A scene showing an object under water may be a submarine picture, but is generally taken in a tank at the studio. By telling just what you want, you will be able to make the director understand. Where a person thinks or dreams while in a scene, and another scene appears on the other side of the screen, showing what he is thinking about, it is called a vision. Inquisitive. — Scenarios should be submitted to the companies announced in the market from time to time in our "Live-wire Market Hints." They should be typewritten on eight-and-one-half-byeleven paper, and should be folded, instead of rolled. We will try to satisfy you and your friends with a larger book in time. M. M. Salzman. — By watching this department weekly you will be able to learn the basic principles of the scenario game. A list of companies which purchase them may be compiled by saving our notes under the caption of "Livewire Market Hints" every week. Bryan Irvine. — In the July 24th issue there appeared a model one-reel scenario. A two or three-reeler is just the same, only on an enlarged plan. We cannot recommend any firm or individual for the work you mention. W. E. Palmer. — Refer to your characters by either their first or last names throughout the scenario, not by both. It is up to the script writer to judge the length of a reel. Every scenario requires individual treatment in this respect. Study the produced multiplereelers, and see if you cannot catch the knack. We think your scene plot has an excellent start, but its figures must be given in detail, every set being mentioned and every scene photographed in the set being listed The same with the exteriors. Twenty-one sets are quite a few too many, even for a three-reeler. Anna Rappenglueck. — See answer to D. Atkinson and N. Lebowitz, earlier in this answer section. Use leaders only when necessary. There should be as few as possible. When a company decides to adapt a novel or story, the copyright must first be bought from the owner. This carries with it the author's and all other rights. Gilson Willets adapted "The Millionaire Baby" for the Selig Polyscope Company. Unless so arranged, the author of adapted novels or plays does not receive royalties. H. T. Gurley. — In the July 24th issue we printed a model scenario. The style of Universal, Kalem, and Vitagraph scenarios can be learned by watching the pictures of these companies on the screen. A location is described as briefly, thus : Hillside, forest in background. P. D. Hatch. — Keystone, Mutual, and Biograph formerly read synopses only, but because of certain changes that are being made by the former two we do not know what they are willing to consider at the present writing. Almost any company will buy a synopsis con' raining an idea that is very exceptional. It certainly has to be exceptional, though. A synopsis sent along may be some longer than the one used if a full script is also sent, but it should not be verbose. Sadie Hess. — Fictional names of characters and real names of cities are preferable in scripts. Watch our "Livewire Market Hints" for a place to sell your work. These hints will be found in this department every week. John Dempsey. — It is almost impossible to sell a scenario written in longhand, as editors will not read it. Mary Pounder. — Follow the form outlined in our sample scenario in the issue of July 24th, and send your workto the Gompanies we list in our "Livewire Market Hints" every week. We. too, think you have a chance for success. Live-wire Market Hints. The Biograph Company, No. 807 East One Hundred and Seventy-fifth Street, is in the market for strong, live, original ideas suitable for one, two, and threereel productions. Writers are requested to submit a synopsis of whatever they have to offer, and not to expect the detailed reading of their work unless its outline is satisfactory.