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

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Marketing the Story There are several agents in Los Angeles who do nothing but sell scripts on a commis- sion basis, but they will not relish my printing their names, as for some reason or other they rely solely on known authors for stories to peddle to the producers. The proposition of marketing your story will require much care on your part — for if you send it around indiscriminately, you will lose months, and get practically no results. For example, suppose I am appointed scenario editor by Director Frank Lloyd, who directed Norma Talmadge in "The Eternal Flame" and Jackie Coogan in "Oliver Twist." The formation of Mr. Lloyd's production unit is announced in the papers. The deluge of scripts commences. The publicity has made it plain that Mr. Lloyd will not star or feature any player, but will make balanced-cast pro- ductions. Along comes a story from Wakoola, Alabama, or Fifth Avenue, New York City, about an individual who will be the outstand- ing personage of the production. A star- story that cannot be changed for balanced- cast purposes. I find that my script is unsuit- 141