Practical cinematography and its applications (1913)

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HOW TO WRITE PHOTO-PLAYS 227 suggestions of every description, written by every type of man, woman, and child. Needless to say, a large proportion of the submitted con- tributions are wildly impossible, or contain plots which have been worn so thread-bare that there is no possible chance of dressing them in a new guise. Fortunately the task of sifting the wheat from the chaff is not exacting. A hurried scan of the opening lines generally suffices to show whether the subject is excellent, passable, or hopeless. Picture-play writing is an art, science, or whatever one likes to call it, which can be cultivated. The average person, at some time or other, is sure to have an idea—it may be an idle fleeting thought —which is capable of being turned to useful account. The picture-play producer knows this very well, and accordingly holds out every inducement in the hope that sooner or later he may light upon something brilliant. A suggestion need only have some small germ of possibility, but the producer, from his experience of the theatre, and of the requirements of the picture palace, can take that germ and evolve it in the most effective manner. Under these circumstances the question arises " How should a photo-play be prepared ? " While there is no golden rule, and while each producer works in his own way, it is possible to Q2