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

Page scan 000166 from "How I did it,"

Record Details:

Title:
"How I did it,"
Date:
[c1922]
Publisher:
Los Angeles, Calif. : The Whittingham press
Volume:
"How I did it,"
Leaf #:
000166
Language:
English
Collection:
Books
Format:
Books
Contributor:
University of California Libraries
Sponsor:
MSN
Coordinator:
Media History Digital Library
Date Added:
July 19, 2022
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Titles because the title had a "punch" in it. The title is the first thing the producer reads, and if it is a good snappy one, it doesn't require much effort to make him read the script. A good title will always arouse curiosity. Ches- ter Bennett, an independent producer, told me he bought a story recently because of its title. The title was "Rock of Ages." That is a good title for a story. On the other hand, if the title is not a good one the interest of the producer fails to be stirred. Perhaps he decides that such a mediocre title will prob- ably be followed by a mediocre story, and he will not even take the time to read it. However, the judgment of the experienced screen writer and the producer are not always correct in the choosing of titles. Every sea- son there are many good photoplays, with fine plots, portrayed by excellent actors, which fail to reap financial harvests predicted for them, because of poor titles. I will cite an expe- rience of mine along this line. When I sold "The Great Redeemer" to Maurice Tourneur I especially requested that he retain the original title. He was some- 109