Picture Play Magazine (Sep 1919 - Feb 1920)

Picture-Play Magazine — Advertising Section 101 Hints for Scenario Writers Continued from page 84 the editors are already receiving many movie plays cast along the Mexican border Don't do it! The censors will get you if you don't watch out. You probably know that Uncle Sam has carried along a strange, weird Mexican policy for lo, these many years. We mustn't rile our Mexican brother. And so, when you bring the well-known Texas Rangers or the Arizona riders or the hero or the cavalry men galloping across the border into Mexico to save the weak, defenseless gurrl — well, it won't do. You remember Zane Grey's story, "The Light of Western Stars"? Well, the part when they dashed over the border to rescue the hero was altered. It was changed from necessity. Uncle Sam asked that it be changed. Nothing offensive to our Mexican brother, you know ; times are parlous ; international troubles, perhaps ; so don't do it. mand for my material. At first I did a bit of "swearing" at the editors, and doubted their • ability to judge a good story. In fact, I went back to my early days and traveled the same old path over again. Now I have awakened to the fact that instead of learning the new game — and new it surely is, for the writing of a five-reeler and a one-reeler are as different as day and night — I have been wasting my time condemning the editors instead of educating myself in the new game. From this time on I shall dig deeply, and earnestly spend all my time in study and effort, and waste no time in criticizing the ability of the editors to judge my work. Some of these days I shall put a story in front of some editor's eyes that will make him sit up and take notice. The trade journals, in criticizing my old singles, remarked on the novelty of the plot. This is the reason that I sold 'em. I'll make 'em do the same thing with my multiples if study, work, and sanity will help me to put it across. In the meantime, I feel fortified in my work because I managed to write successful singles, and this is the stepping stone that will encourage me to bigger and better things. Your department awakened me. I owe you a debt of gratitude. Here Is An Optimist It is a relief to receive a letter not only encouraging to the editor in the work he is trying to do, but also pledging confidence in scenario marketing conditions. This man never had a plot stolen, nor has he been otherwise abused. The letter is from Mr. William W. Farmer : Like many others, I have struggled along with but a small measure of success for my efforts. In 1916 I sold my first story, "The Market Price of Love," to Essanay, and this was followed by fourteen produced comedies under the Joker brand of Universal. In all, I have some two score of produced stories to my credit, all being single reelers. I have been treated nicely by Universal and other well-established producers who have purchased my work. I have never had a story stolen. In fact, I know that no producer would steal that which he could buy easily, and, so far as I can recall, I have never felt that my stories were rejected because they were too good. I worked for two solid years before I sold my first single reeler. After that it came easy until I found myself able to write and sell regularly an average of three a month. Then the war came. Joker comedies were stricken from the list, and to my utter surprise, I found I could write nothing but Joker comedies. Sales dropped off, rejections came thick and fast. Like many others, I dropped comedy and set out to capture the big reward in the multiple-reel stuff. My first efforts resulted in nothing but rejection slips. Up to this time I find no de Effects of General News I The Searching" Love Look' It is strange how the general run of news will affect the average author of picture plays. A big war breaks out, and there is a flood of war stories. Spies everywhere — lots of spy plots. Activities again on the Mexican border. Anticipate a lot of Mexican border stories. I. W. W. and Bolsheviki activities begin, and they are followed by a large number of screen stories based on the activities of these gentry. That, at least, is what can always be expected from the beginner. He or she seemingly looks to the public prints for inspiration. Now timeliness is all right, but when you remember that ten thousand other writers are scanning the same news stories for plot foundations you may realize what the defenseless editor is up against. Purely as a suggestion, I would ask that the ambitious ones refrain from adapting news stories to screen plots ; that they cast around for some entirely original subject. The scenario editor will heave a sigh of relief. Believe me, he will appreciate the story on original lines after a day's search through a pile of manuscripts ranging from European spies to the I. W. 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