The art of sound pictures (1930)

THE ART OF SOUND PICTURES SO well-known stories. The volume of fiction and drama to-day is so enormous that no story editor can keep track of it all. Because this exposes him to many practical and legal difficulties, the rule has long been in force against considering unsolicited manuscripts. This forces the author to pursue one of three courses. In the first place, he may place his stories in the hands of an agent who has already established favorable connections with the Holl5rwood studios. Secondly, he can sell his stories in literary form to some magazines, or bring them out in book form, sending the published material to the story editors, who may then be trusted to give it fair consideration. In the third place, he may establish some personal connection with an important executive in one of the companies. This man will be in a position to vouch for the writer’s integrity, thereby opening the door for him in other studios. Unless you can submit your story in its published form, send it in typewritten on letter-size paper. Do not submit a synopsis. One does not have to sit long in an editor’s chair before learning how very hard it is to judge a story in this abbreviated form. When the script deals primarily with a somewhat odd complication or adventure, the task is relatively simple. But when the author endeavors to convey a minute account of some character, nothing short of that account itself will reveal its merits. And finally, don’t get discouraged. Remember that one hundred million people in these United States go to the movies every week of the year. Every producer is as eager to buy a good story as you are to sell one. The task of entertaining these millions is nothing short of stupendous. And the average movie patron would rather