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PHOTOPLAYS Tlie demand for photoplays is greater to-day than ever before, and, according to authoritative accounts, this de- mand will go on steadily increasing. New companies are starting up ; new theatres are being opened ; and everyone who has made a study of this wonderful and fascinating motion picture industry is of the opinion that it is merely in its infancy. Before getting right down to information and instruction and advice, I am going to say a few words of encourage- ment. I realize that among -those who will read this little book are many who have ideas, but have lacked either the courage or the technical knowledge or the power of ex- pression to mold these ideas into stories or dramas. To those timid or unversed ones, let me say emphatically that photoplay writing offers great opportunities to them, pro- vided, always, that their ideas are of such quality and quantity as to form sterling photoplays. Here there are no requirements of style and sparkling dialogue to fill; you are not restricted to three or four acts into which all the action must converge, as in the stage play; nor are you called upon to display literary ability in the powerful and graceful handling of narrative and imagery, as in a story. All such difficulties are cleared away from the path of the photoplay w r riter. When an idea occurs to him, he has simply to jot it down and add to it as his imagination pic- tures the developing plot (subject to a few simple rules) until he has a sequence of incidents that form an interesting story. For that is all a photoplay is — just a story told in pic- tures. And everyone has a story — if not a bag of stories — tucked away in the corners of his mind. One doesn't have to live where life is teeming and surging in order to write a successful scenario. Some of the most applauded