"How I did it," ([c1922])

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"How I Did It will walk out before the picture is entirely un- reeled. A dramatist uses clever dialogue to put over the big punches in his play, but the screen author has to supplement that dialogue with real big action. Action is the most important ingredient in the photoplay. There must be lots of it, and it must be logical and necessary to the development of the plot. It mustn't be put into the script just to furnish movement for the actors. It must have a decided bearing on the outcome. In fact, the point to remember in writing for the screen is: First, establish a reason for the story, then introduce your characters, and after you have done that, make a dash for your climax. That's all there is to it. Estab- lish a premise and then rush for the final scene. Don't waste any time while en route. Be sure that it contains action, action, and then some more action. Mix a few thrills with it. Flavor it with the sweet essence of romance and throw in a lot of suspense. Put some big human interest into it. Bring a tear to the eyes of your audience. Then, the 24