Picture Play Magazine (Sep 1919 - Feb 1920)

9-4 Picture-Play Magazine — Advertising Section How I Sold My "Movie" Idea for $500 A Story That Will Interest Every Ambitious Man or Woman With Photoplay Ideas IV/fy FIRST motion-picture idea brought me $500 — think of it! For a long time I had struggled hard to gain recognition as a writer of photoplays. I put into this work all the energy and enthusiasm I could command. I wrote and submitted many plots to producing companies, but always they came back to me with that inevitable rejection slip. Was I discouraged? Well — wouldn't you be? As a matter of fact, I was on the verge of abandoning all hope of ever winning recognition when I read about the work of the Advisory Bureau of the Palmer Photoplay Institute. And then — when I learned that this Advisory Bureau was headed by Frederick Palmer, the well-known photoplay author, I immediately became interested. For I was sure that the man who wrote 52 produced scenarios in 9 months could help me solve my problems. After that — it did not take me long to decide. I made up my mind to take immediate advantage of their remarkable offer. For their money-back Guarantee was so fair that I didn't see how I could possibly lose anything by accepting their proposition and making another try at it. From Dismal Failure to Success! Now — here's the wonder part of it: Through the help received from the Palmer Photoplay Institute, I emerged in a few weeks from an utterly unknown writer into a recognized photoplaywright — and, besides, I was $500 ahead ! It is the Personal Advisory Service of the Palmer Photoplay Institute that is helping men and women with good scenario ideas to develop their ideas (no matter how crude) into actual, usable photoplay material. Nor does and rightly ! For, it tells about the most remarkable institution for the development of photoplay writing that the motion-picture industry has ever known — the only exclusive scenario organization that has ever received the enthusiastic indorsement and support of the leading producers, directors, and stars. The Famine in Photoplay Ideas And — don't forget this ! It is said on good authority that 20,000 new photoplays are normally produced each year in America. There is a real famine in new plots and producers are crying frantically for material. Never before was the demand for new ideas so urgent. Never was there a greater opportunity for trained photoplay writers. $100 to $1000 is being paid for acceptable stories, and prices are advancing because the supply is so meager. Therefore, if you have any creative imagination at all — if you have any good ideas for photoplays with a new "twist" or "angle" to them — I urge you to send today for "The Secret of Successful Photoplay Writing." They will be glad to send you this booklet, I'm sure ; and without cost or obligation. I can promise that it will reveal to you the famine in photoplays — the top prices producers are willing to pay for the right material — and how eager they are for Palmer-trained writers. The Coupon Will Bring You Detailed Information— Use It! Also — you will learn how the Personal Advisory Service helped me (even as it will help you) to put my "movie" ideas into proper, acceptable form ; and how their Manuscript Sales Department actually sold my first photoplay to Douglas Fairbanks for $500. Just think — you may have an idea their work stop there. For they actu right at this minute that their Ad The Picture Oracle Continued from page 92 Lightning Raider." "The Perils of Pauline" was her first appearance in the serial line, with Crane Wilbur as her leading man, and Paul Panzer as the heavy. It was not the first serial ever made. Kathlyn Williams and Tom Santschi had the leading role's in "The Adventures of Kathlyn," the first motionpicture serial. Pearl has auburn hair and blue eyes, but wears a blond wig in her serials. Kathleen Clifford has lightbrown hair and brown eyes. All motionpicture stars do not use a yellow make-up to photograph white. It depends on the skin. You can take two people, and put the same make-up on them, and they will photograph entirely differently. It takes study to find out which kind of make-up will show best on your face. Roscoc Arbuckle was born in Kansas in 1887. He started his theatrical career by singing illustrated songs in a motion-picture theater, and later toured the world with his own show. He was one of the early Keystoners on Mack Sennett's lot. Carmel Meyers is the young lady's correct name. She is the daughter of Rabbi Meyers, of Los Angeles. No, she hasn't struck twenty yet. NAMES AND ADDRESSES The following addresses are the ones asked for in the letters to which The Oracle has replied in this issue. If you wish to write to any one connected with the screen, whose address you are unable to find here, send your letter in care of either the Mabel Condon Exchange, 6035 Hollywood Avenue, Los Angeles, California, or of Willis & Inglls, Wright and Callender Building, same city, and it will be forwarded. Anita Stewart at the Lois Weber Studios, Santa Monica Boulevard, Los Angeles, California. H. B. Warner, J. Warren Kerrigan, and Lois Wilson at 'the Willis & Inglis Studios, Los Angeles, California. Viola Dana, Bert Lytell. Hale Hamilton, Alia Nazimova, and Naomi Childers at the Metro Studios, Los Angeles, California. Vivian Martin, Niles Welch, and Harrison Ford at the Morosco Studios, Los Angeles, California. Charles Ray. Enid Bennett. William Conklin. Doris Lee, Douglas MaeLean, and Dorothy Dalton at the Ince Studios, Culver City, California. Lloyd Hamilton at the Lehrman Studios, Culver City. California. Monroe Salisbury. Priscilla Dean. Dorothy Phillips, Thurston Hall. Eddie Polo. Grace Cunard, Elmo Lincoln, Mary MacLcan, Eddie Lyons, Lee Moran, and Rupert Julian at 1he Universal Film Company, Universal City, California. Albert Ray, William Farnum. George Walsh, Peggy Hyland, Evelyn Nesbit, and Theda Bara at the Fox Film Corporation, 130 West Forty-sixth Street, New York City. Chester Conklin, Slim Summerville, Bobby Dunn, Jack Cooper, and Ethel Tcare at Sunshine Comedies, Western Avenue, Hollywood, California. Antonio Moreno, Carol Holloway. William Duncan, Edith Johnson. Montgomery and Rock, Larrv Semon. and Bessie Love at the Vitagraph Studios, Los Angeles. California. William S. Hart at the W. S. Hart Studios, Sunset Boulevard. Los Angeles. California. Geraldiue Farrar, Tom Moore. Will Rogers, Owen Moore. Madge Kennedy. John Bowers, Milton Sills, and Mabel Normand at the Goldwyn Studios, Culver City, California. Gloria Swanson, Elliott Dexter. Wallace Reid. Tom Forman, Ethel Clayton. Lila Lee, Marjorie Daw. Bryant Washburn. Wanda ITawIev. James Cruze, Marguerite Snow. Dorothy Davenport, Sylvia Ashton. Jack Holt, Theodore Roberts. ' Raymond flatten, Tully Marshall, and Donald Crisp at the Lasky Studios, Vine Street, Los Angeles. California. ally help you sell your plots as their Manuscript Sales Department is in daily touch with the large studios and thoroughly understands their storyrequirements. What's more, they are right on the ground — they know what producers want and do not want and why! How did I come to know all this? Through the interesting booklet the Institute sent me — and which they will gladly send you, too. It gave me new inspiration and was the turning point in my career. They call it "The Secret of Successful Photoplay Writing" — visory Service Bureau can help you sell for hundreds of dollars. So, take my advice and fill -out the coupon below— right now ! j Palmer Photoplay Corporation, 729 I. W. Hellman Bldg., Los Angeles, Cal. I Please send me, without obligation, your new I hooklet "The Secret of Successful Photoplay ' Writing." Aleo Special Supplement contain I ing autographed letters from the leading I producers, stars, directors, etc. I Name j St. and No I City State_._ When writing to advertisers please mention Picture-Play Magazine.