Picture-Play Magazine (Mar-Aug 1918)

Hints for Scenario Writers 95 away the true state of affairs to the rival who may be exploiting a star of the same qualifications. ' The film concerns are after stories, plot ideas. A good original idea is welcomed in any film editorial office right now — take it from us! Send your synopsis directly to market, leaving the bureaus of criticism strictly alone, First you pay a fee for criticism. Next you pay a commission if the stories are sold. Typewrite your own plots and send them in direct. You can use the money you pay on "criticism," so-called. This criticism cannot be of value, for the outsider does not know real market conditions. We know them. Come across with an idea full of action. If you can put an original twist into old stuff, you'll sell it. Study the stars featured by the different companies, so you will know when you have an idea suitable for one of them. A Chicago lady writes that she has a synopsis ready to market, and, as she is new to the business, she is uncertain Send it where to send it. She says : "I have done some other writ ing, but nothing along movie lines. I am wondering with Direct whom to place it. I have circulars from several companies. One offers to place my story, and another, for a small sum, gives hints, and a bulletin. Do you recommend any one? How am I to know which is reliable ? I intend to write plays until I am assured I can or cannot, but would like to start right. In a nutshell, what is the best way to get plays before directors, and how can I know as to the reliability of schools?" Schools are not reliable, for they cannot furnish any information as to the real needs of any one film company. Leave schools strictly alone. Typewrite your idea in a clear, concise manner, and submit it yourself, inclosing a self-addressed, stamped envelope. Read the motion-picture trade journals every week. There are three or four that are worthy. Study the advertisements carried by these publications. One or more carry synopses of stories released by various film companies, and a careful reading of these synopses will enable you to get a line on the character of stories being released. No reputable film company, to our knowledge, is distributing circulars boadcast. Some will furnish a list of market requirements if asked. In a very interesting letter Evelyn Campbell says : "I am much interested in your article in Picture-Play MagaA Con zine, as I have a contradictory tale to tell, and that is always tradictory pleasant. I am a short-story writer. I think I may say with Tale propriety that I know enough to put a synopsis into proper shape, so that even a scenario reader might not lose any time in getting at the kernel of it. Recently I was bitten by the synopsis bug; for before you told us about it, common sense warned me of the fallacy of the 'prepared script,' and I never attempted to prepare one. I wrote a synopsis that I thought very good, sent it to several companies, and always had it returned, sometimes with a rejection slip, though more often with a polite note, disclaiming any desire for scenarios in any shape or form. I used the plot for a novelette, sold it to a magazine, received a good price for it, and, to my astonishment, the magazine editor sold the picture rights to a film company for five hundred dollars ! This certainly shows that the film companies are not dragging the market for stories, as they could have had mine for half what they paid the magazine. I am perfectly satisfied, of course, to sell a story twice, but