How to Write Moving Picture Plays (1915)

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24 HOW TO WRITE MOVING PICTURE PLAYS I enclose a self-addressed, stamped envelope for reply, and, thanking you very much for this courtesy, I am, Respectfully yours, (Name and full address.) The above is intended merely as an idea; you may form the letter in your own style. You may, of course, begin your work NOW, and have one or more plays in proper form for presentation by the time you receive your replies to above letters. BE SURE TO ENCLOSE A SELF-ADDRESSED, STAMPED ENVELOPE FOR REPLY WITH EACH OF THESE LETTERS. The replies you receive will enable you to choose the companies to whom you will submit your work as a first trial. Should they reject it, send it to another and another and another. ALWAYS WAIT UNTIL YOU HAVE THE REJECTION OF ONE COMPANY BEFORE SUBMITTING THE SAME PLAY TO ANOTHER. You cannot legally sell the rights of one play to more than one company; such an attempt would be dishonorable, and you would place yourself open to prosecution. If your work is in the least available, you will soon find a company willing to produce it, and to them you will award the sole rights. Please understand that the list of producers included with this book was recently compiled. Publishers endeavor to keep this list up to date, but they cannot issue a revised list every week; and it may be that the requirements of some certain producer two weeks ago may have changed by this time. You will note that the list of producers bears a number at the top. Should you desire, a few months hence, to secure a revised list, send twelve cents in stamps to The Atlas Publishing Company, BEING SURE TO STATE THE NUMBER OF LIST YOU HAVE AND THE SERIAL NUMBER OF YOUR INSTRUCTION BOOK, MARKED IN RUBBER STAMP ON TITLE PAGE; if a revised list has not been issued since your list was printed, they will promptly return your money; if a new list has been printed, they will immediately mail one to you. Note what particular KIND of plays each company wants, and endeavor to submit your plays to the companies demanding the kind you have written. If a certain company is wanting only society dramas, do not send them an Indian play. If they want only stories of Western life, do not send them a play dealing with New York society. You may also have a play that you KNOW is suitable to the style of acting of some well-known actor or actress, then forward it to that company; but do not include a letter stating your opinion. If the play bears merit, they will readily see its possibilities and adaptability to some particular actor in their company. If your play is rejected, see that it is in a neat, presentable form for the next producer; if it shows “travelstains,” it will give a bad impression. Make it look as though this were the first time you had offered it; it is unnecessary for the next company to know that it has been previously rejected. If a play is declined by several companies, it is no sign that it does not bear much merit. Nine companies may refuse it, while the tenth will accept it, be glad to get it, and pay a good price for it. “Keep your plays traveling” from place to place until they ARE accepted. If you are going to become discouraged at the first or second or third rejection slip you receive, you had better not try the work, as you will be wasting time. Join the Persevering Class, and your battle is half-won; improve just a little on each succeeding effort and the victory is yours. Section 30.— TIME REQUIRED FOR COMPANY TO PASS JUDGMENT ON A PLAY. It takes from five days to four weeks. Some are slower than others in this respect; but you can be working on new plays while you are awaiting returns from those already submitted. The more plays you keep traveling, the more enthusiasm you can throw into the work. We do not mean by this, to turn out completed plays as fast as your imagination and hand will allow. It is far better to write one play per month and make it a good one than one every day with a weak plot and no originality. Every time you have the inspiration and story in your mind, write it out, revise it properly, and send it along. If you have several plays “on the road,” your successes here and there will offset any disappointment that the rejected scripts may bring you. Keep a strict record of each play in a note-book, showing Title, Name of Producer to whom submitted, date sent, date you receive the return of play (if rejected), name of next producer to whom submitted, date, etc. If you do not hear from your play in about four weeks, write them a courteous letter, giving title and date mailed. Do not accuse them of dishonesty; merely ask that they please reply at once, and if play is not suitable to their requirements, to return it. If you do not receive reply to this letter in ten days, write them again, stating that you are going to submit play elsewhere unless you hear from them immediately. Send this by registered letter and demand a receipt from postoffice. Then if you do not receive reply within ten days, re-copy play and send it to another company. The usual indication, however, is that the longer the company retains the play, the more encouraging are your chances for a sale. If it is absolutely unfit for their purposes, they generally return it immediately. If your play is accepted, producers will send you a form of contract which you are to sign and return, giving to them the sole rights to produce and copyright it, also stating that you are the originator of the story. If you have committed plagiarism, stolen the idea from another, you are obtaining money under false pretenses. Remember that these companies are not responsible if your play should be lost; this is why you should retain a copy of it. And, above all, do not lose your temper and make any false accusations that your play or ideas have been stolen. Section 31.— TIME REQUIRED TO WRITE A PLAY. Do not be in a hurry to send your play away just as soon as it is completed; it is well to keep it for several days, read it over every day, and see if there is not some improvement you might make, some minor scene you might omit, some leader that you can avoid by inserting another scene that would add flavor to the story. When you read it over about the fifth time, it will often appear altogether different than it did at the first reading. Perhaps you have a brother or sister or friend who will go over it with you ; he may see it in an entirely different light. Ask for his honest criticism and any suggestion that he can make that might improve it. Particularly