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

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THE VAN LOAN LETTER • Every time you attend a motion picture theatre, how would you like to have H. H. Van Loan beside you, so that at the end of the performance he could go over the production with you, giving you the high lights of the story, and a liberal discussion of its theme, plot construc- tion, unities and sequences? Or better still, wouldn't you like to receive an advance letter from Mr. Van Loan containing a constructive and critical analysis of the important photoplays of the day ? We can readily anticipate your answer, and believe you will receive with intense enthusiasm the announcement that for the first time in the history of the motion picture, a noted screen authority is to coach the aspiring photo- dramatist by means of criticism and comparison. Just pause a moment—and think what this will mean ,to you! You will have as a basis for your study the actual motion pictures that come to your theatre from day to day! In advance of each picture Mr. Van Loan will send you his analytical review. You can peruse it before the picture is shown. Afterward, you will be enabled, with the aid of his guidance, to thoroughly analyze the various qualities of the picture—whether they be meri- torious or faulty. Perhaps, at this stage of your study of the technique of photoplay writing, you find yourself unable to properly dissect, so to speak, the various twistings and turnings of the screen stories of the day. You readily perceive the novelties or oddities in story construction, but find your- self unable to apply them toward helping you to write better stories. "The Miracle Man," "Behind the Door," "Dr. Cali- garfs Cabinet," "The Golem" and "Blind Husbands" had unusual twists of story construction. The student of