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

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"How I Did It" I presume that when you write a story you have your idea as to whom it would suit— whether it be a star or balanced cast of fea- tured players. If you live in a fairly small centre, your first source of information lies through your exhibitors, or theatre managers. If they are willing to help you, with a little patience you can get the information you desire. Suppose you have written a story you think would be fine for House Peters, or Eu- gene O'Brien. There is no way of your find- ing out that House Peters is a "free-lance" player and does not star or have a company of his own. For this reason it would be of no use to send Mr. Peters your script. Eugene O'Brien's contract with Selznick Pictures re- cently expired and his future is not settled, as far as he is concerned. In the meantime he is not buying stories and no one is buying for him. Later, if you should see a paragraph in some paper stating that Eugene O'Brien has signed a starring contract with "Blank Produc- tions," of Los Angeles, clip the announcement and file it away. Then, when you have a ve- 136