The photoplay writer ([c1913])

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and the others. Perhaps this will be the best way. Some lumber jacks see him and, blaming him for the fire, they surround him and drag him from the car. They treat him roughly. Jack and May arrive on the scene. Jack orders the men to release Bert. Jack then advises him to go if he values his life. He slinks away. There you have an example of plot-building from an item in a newspaper. Every paper is full of suggestions. Get into the habit of reading with the intention of finding those suggestions. Be curious as to the "whys and wherefores" of every occurrence you see, hear of, or read of. You will find that the practice will lead to a fertility of invention that will often surprise you. When your plot is built up, you are ready to construct your photoplay scene by scene. And don't forget to boil down your plot into a synopsis of 250 words, as described in connection with the CINDER- ELLA scenario. WHAT FILM PRODUCERS WANT All the companies demand original ideas. Stories of everyday life stand the best chance of accept- ance. You have doubtless seen on the screen many photoplays adapted from well-known dramas and novels. A company that produces such plays prefers that its own editorial staff prepare the scenarios. As I said in the beginning, there is an unwavering de- mand for comedy. What is wanted is novelty of plot or a fresh, original treatment of an old theme. Comedy of action must be there as well as the comedy of idea. An ordinary, prosy series of events leading up to a comical climax does not constitute a comedy; humorous situations must follow each other as the play develops. And the de- velopment must be logical and natural; forcing ridiculous situations for the sake of a "scream" results in foolishness that is far from what is desired. There is a lot of good 24