Motion Picture (Aug 1919-Jan 1920)

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PHO TO ENGRA VERS GOOD CUTS Half-tone and Line Work for Printing in One or — More Colors for Any Purpose-— — ■ DESIGNING :: :: RETOUCHING 165-167 WILLIAM STREET, NEW YORK Just to Get Acquainted, we will mail you 1 issues of 15he Photo-Play World The one by which all others are governed FOR $1.00 The Photo-Play World contains only the best pictures —Stories and Articles. Has a Staff of America's Foremost Writers Subscribe Now. 35c a Copy, $3.50 a Year THE PHOTO-PLAY WORLD Bulletin Bldo. Dept. M. P. Philadelphia. Pa. When Marguerite Hit Town (Continued from page 65) shouted. "Oh, what a wonderful little house," she said. "Is it for rent? I must live here. I have never seen such a delightful place in my life." "No," said Mr. Edwards. "It isn't for rent. But look at .this room. And he opened the door into a delightful boudoir, in white and blue, with old French prints on the walls, a full-length mirror covering an entire end wall, and a little bed and dressing-table all done in the most delicate way. When Miss Clark had looked and looked hungrily and had wished and wished she might live there, Mr. Edwards broke the news. "No, you cant live here," he said, "because it's already rented. This is your dressing-room !" The ensuing scene will not be described. We will say only that "Harry," who is Lieutenant Williams, was hastily called to the star's side, and that when she looked up again the shoulder of his coat was quite, quite damp. To think that this wonderful little house was her dressing-room ! A kitchen for lunch — a wonderful cook was ready to start work at a word — a dressing-room that excelled anything she had ever dreamed — and outside a little garden full of poppies and roses. She zvas glad that she had come to California. After a time of rejoicing, she remembered another unpleasant thing. "We must go house-hunting today," she said. And she left the dressing-room and entered her limousine, looking back at it wistfully as she drove off with Mr. Edwards and Harry. _Mr._ Edwards gave the chauffeur his directions, and after ten minutes the car stopped in front of one of the most beautiful residences in Los Angeles. Wide sweeping lawns, decorated by ancient trees, spread before a house that might have been built by Lorenzo de Medici or some other lover of life and beauty in the wonderful days of the Italian Renaissance. Miss Clark and her party entered and traversed room after room — every one a work of art — every one possessing a personality of its own. And when she had finished admiring, Mr. Edwards said: "Will it do? We thought you would like it. Everything is ready for you to move in at once." Harry's shoulder was again called into use. Mr. Edwards hastily left them to themselves. And we will follow his example. The next day, however, Miss Clark gave out a statement to the effect that she had never been so happy in her life before, and that California was wonderful. Which seemed to indicate that her reception was a success. «OT^I£URP) DOOMED TO BLUSH UNSEEN Flora — Our scenario editor told me that a large percentage of the scripts submitted are so impossible he doesn't even bother to read them. Fauna — I suppose those are what you really might call the unscenarios ! W h at makes a success f u I photoplay writer? Read this interesting experiencerecord of men and women who have won name and fame and money writing for the screen Why do some people succeed at photoplay writing — and others fail? Is it a special talent — an unusual "knack" — a God-given gift bestowed upon the few and denied to the many? Why are the moving picture studios deluged with a steady stream of manuscript; and yet, despite all this, why are producers clamoring for pnotoplays that are off the beaten path — stories that pulsate with realism and that develop unexpected "twists" and "angles" at every turn? What are the ingredients that go into a successful photoplay; and how can you blend them to the best advantage? What is the vital story-structure around winch AlAj successful photoplays are built — and how can you learn it? If you are interested In these questions — and you arel — you will be interested in the experiences of those who asked these self-same questions and who found the answer to them in the Palmer Plan of Photoplay Writing. Here, for example, is a letter from one of our students — just as it came to our desk the other day: "My impression of photoplay ccrrcppondence schools was bitterly uncomplimentary. It was only to please an insistent friend that I signed up for a course of study with the Palmer Plan. Up to this time I had not been able to find out from personal interviews, by letter, or by reading books on the subject, just what was required to make a photoplay saleable. My work had one fault in particular. Always I was told of it, but never was I shown just how to overcome it. "I opened the Palmer Plan lessens halfheartedly enough. One is never vitally interested in something done on the wave of a friend's enthusiasm. But almost immediately I was interested. 'When -I put the lessons down I realized that here was a plan that would work! The essential points in photoplay writing had been selected and were made clear. More than This — the thought to be conveyed to the student was hammered in until it 'registered.' "I wrote a play and checked up the points that tallied with the Palmer Plan lessons I had learned — and I trusted to luck about the old fault that had stood out so conspicuously. "My play came back to me for revision. My weak spot had been discovered, and another one, too. But — here is the point I want to rub in: I was told just exactly and precisely how to master those faults of construction. I wrote another play, and applied the prescribed remedy. It worked like a charm. At any rate, my play. Diamonds and Daffodils,' was immediately sold and is now being produced as a five-reel picture. "This is the first play I have ever been able to sell and I do not hesitate to say that the sale of this play was due almost entirely to the splendid help I received from the Palmer Photopi ay Ccrpor at io n. (ATame and address of the writer on request) Hardly a day goes by but what we receive a letter from some grateful member with the story of his or her success. One member, after struggling unsuccessfully for years, received $500 for his first photoplay marketed through lis. Another secured a staff scenario position three weeks after enrollment. Another member succeeded in having his very first story accepted and produced. Another rose in a few months from an underpaid clerical position to Assistant" Managing Editor, of one of the largest film companies. Still another — a busy housewife and mother of four children — is earning over $200 monthly from spare-Urns work. And now — is there any valid reason why your "movie" ideas and plots should languish in the dark— when one of the best-known screen authors in America (Frederick Palmer) is ready to help you make the most of them? Is there any reason why you, too, should not win name and fame and money — as the?e people have — through the practical help and co-operation cf the Palmer Photoplay Institute? Get oar booklet on Photoplay Writing— FREE If you want to know about the famine in photoplays—the top-notch prices ($100 to $1,000) producers are paying for acceptable material and how eager they are to! welcome Palmer-trained writers — send today for our new booklet, "The Secret of Successful Photoplay Writing." Explains the Palmer Plan in detail — shows the practical advantages of our Personal Advisory Service and Manuscript Sales Department — shows our iron-olad, money-back Guarantee. Your copy is waiting for you — and it's free! Mail the coupon NOW! PALMER PHOTOPLAY CORPORATION 738 I. W. Hellman Bldg., Los Anoeles, Gal. Please send me, without, obligation, your new booklet, "The Secret of Successful Photoplay Writing." Also — Special Supplement containing autographed letters from the leading producers, stars, editors, etc. Name St. and No City State 103 P