Picture Play Magazine (Oct-Nov 1915)

30 PICTURE-PLAY WEEKLY ideals and their absolute harmlessness — their apartness from the villainous, I am sure they would be less willing to garb them with the clothes of crime. Hardly a story — a Western story — is flashed on the screen but what we see the besombreroed head of a darkskinned individual peek from behind a bush, and, because we've been so taught, we think of that character, until the finish of the picture, not as the 'villain,' but as the 'Mexican.' "I reported back to my Mexican friend, and while conversing with him, pointing to an old, dilapidated fellow, he said : 'There, look across the street at that man. He is the son of a don. In his prime he owned what we now would consider an empire. But he was too honest, too upright, and — then, one day, the American came along, and should you dig deep into the life of that man you see, and the man who stole from him his very life, I wonder if you had to cast them both in a play, which one would carry the villain part, and which the hero?' "True, the above incident could, and does, occur in our own American life, but it illustrates the point that the Mexican should not be the bad man for all time to come. "I make this plea for our native folks. I believe they are much maligned and misunderstood, and that the author is in a large measure responsible for this. And then, I am wondering, from a dollars-and-cents viewpoint, how a series, or a number of one and two-reel stories, in which the Mexican is cast as lead, or of Mexican life alone, with all the characters human and really lifelike, would show up in the cash till of the exhibitor doing business in the communities where a large number of Mexican people live?" ON KEEPING STORE. If a man starts to keep a stationery and supply store, he doesn't put in one kind of tablets, one kind of pencils, one kind of ink, one kind of wrapping paper, and one kind of everything else he expects to sell. He gets several kinds of each, and then, when one kind does not register the sale he wishes to make, he offers another kind. That is only good business, and the storekeeper does not think he is doing anything at all exceptional by thinking of it. But a scenario writer who is breaking into the game doesn't always have the same viewpoint. He never thinks of storing up several kinds of ideas that he will be able to use later. He starts to "sell" right away, and if his material that is offered first fails to sell, he cannot offer something different which may serve the purpose. That is poor business, but the writer does not realize this, and wonders why he is a failure instead of a success. Moral : Broaden your mind with a large stock of ideas, so you may draw them as needed, and so you will never be caught without something salable to offer. DEVELOPING THE CRISES. Where a plot has several crises, much of its success will depend on how these crises are led up to and disposed of. If they are all covered up with suspense, and their ending gives rise to the next situation gracefully, the effect of the entire story will, indeed, be pleasing. But if they are poorly handled, there is little use of writing the scenario proper, for the interest will not be well sustained. The art of developing a crisis is too great for rules. It must be controlled by the writer himself, and he alone can handle his situation effectively. He must understand just how to proportion it, so that there is neither too little nor too much suspense before the climax of the crises occurs ; he must know how to lead naturally from one crisis into another in such a manner that the art i3 concealed. The beginner asks where the writer may learn this, and we can do no better than say, "by studying the screen !" Answers to Readers. Allen Clark Fuller. — We would advise that a letter not be sent to the editor, especially with one's first scenario. We are sorry we cannot take care of your question about development this time, but next week we will work it out correctly for you. Howard Bryce. — There is always a market for scenarios in which English settings figure, if they are not too prominent. We know of no American producing company at the present time who would care to take on war scenarios. Carroll Deane. — We do not think the consors would oppose your theme if the scenario was produced, but we do think editors would frown upon it. They are opposed to all photo plays which are based on religion, and as yours is frankly a treatise on this subject, we fear you would have difficulty in "g ting it across." Norman Haney. — The address of d Pathe Company is 25 West Forty-fi Street, New York, N. Y. R. L. Osborn. — By watching a "Live-wire Market Hints" in this << partment, you will receive numerous t ! every week as to where to sell y< scenarios. The Essanay Company buying absolutely nothing from fr lance writers at the present time, j cording to statements from that o cern. W. W. Milner. — In our issue of J " 24th we printed a sample scena which should prove helpful to you working out your plots into correct te< nical form. R. L. Osborn's answer this department covers your question where to sell scripts. E. A. Shepard. — We are sorry, but can give you no opinion of the compa you mention, for, other than knowi that they operate, we have no knowlec of them. The matter of becoming staff writer has been treated at lent through these columns. It simply i=! question of working hard until you lis made good, and then awaiting yc chance to get on the inside. Thomas A. Sharpe. — To our kno\ edge, no company has made a film the title you mention, so you are at 1 erty to use it. Miss Margarita Muellar. — The f; that you received a carbon copy of yo scenario from a company does not she that it was sold. Are you sure it w not a carbon you sent them? We c mention no company who needs actc and actresses just now. The field really overcrowded. F. C. Smith. — The way to offer boo and plays to the motion-picture coi panies is to send them in and let t scenario editor read them over. A 1 of companies which will be interest in such works will be found in our sue of September 24th, and every we' under the caption of "Live-wire Marls Hints" we list several other compan! who are in the market for suital material. W. K. McKolloch— If the plot a idea of a story is very exceptional, ; most any of the companies we have me tioned in this publication will consid it, though not as carefully as if it h; been worked out. The payment w also be less if the idea is purchas* than if a full working script had be;