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HOW TO STUDY 145 promptly it is sent out to some studio. After a while the succession of rejections, unrelieved by any acceptances, dis- courages you. You stop work, concluding that photoplays do not pay. If yo'U had made no early sales you would have been ready to face the failures through which success is really won, but these few almost accidental successes have done their work and you are not willing, once the rejections commence, to face the long, hard pull. Success that comes quickly is seldom lasting nor of real value. The success that is won through earnest, persistent effort, that is built on hard work and labor intelligently directed is the kind that lasts because it is not built on chance. So do not be in too much of a hurry to sell. 'Be prepared to serve your apprenticeship that you may become a master workman and enjoy a master's privileges. iDo not think that you can materially shorten this apprentice- ship through school courses. There is a certain amount of drudgery that must be performed before you can qualify and this work no one can perform for you. You cannot buy success. There is only the school of experience and the class room is the motion picture theater, but you must regard it, for the time being, as class room and not as a place of amusement. If you had spent your entire life a hundred miles from navigable water, you would not expect to be able to build a ship or even a rowboat without having seen one. No plans or pictures can fully replace the intimate personal knowledge of thorough examination. It is the same way with photoplays. You cannot expect to write them without some familiarity with the screened picture. If you wanted to build a rowboat you would not simply look at it. You would closely examine every detail of construction, and this same careful examination is required before you can really know motion pictures. It is best to go to the theater alone that you shall not be disturbed by the comment of a friend and look on the picture, not as a diversion, but with much the same spirit as that in which the medical student approaches the dissecting table. Your in- terest lies not so much in what appears on the surface as what may be discovered by deeper investigation. Look not so much at the picture as a drama, but as a study. Good or bad it will equally well repay your analysis. The probabilities are that you are reasonably familiar with motion pictures on the screen, in which case you are out of the kindergarten and ready for the intermediate course. Study, to apply to the filmed picture, the principles here laid