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

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"Hot* I Did It" which may mean an outlay of a hundred thousand or perhaps more, is not fair. Many producers work with very limited capital and are only financed for each production. The story must be fool-proof; it must have all the evidences of a box-office attraction—a picture that will make money. The producer may read the story and spend days reflecting over its possibilities of being a success. He may like certain things in it and decide he will hold it for a little while, and, if nothing better comes along, use it. On the other hand, he may lack sufficient capital at the present moment, or perhaps he is waiting for the return of his investment on his last picture before beginning work on his next production. There are many ele- ments which enter into the purchase if a story, and they are all foreign to those on the outside. Give a producer a reasonable length of time in which to make his decision. Producers are as a rule charitable, kind- hearted and generous. But they cannot af- ford to purchase a script because it happens to have been written by "a poor widow, with 122