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BOOBY
TRAPS
willing to give it away, or if you are eager to transfer it in exchange for the opportunity to get it produced, why then, those are courses of con¬ duct of which conscientious lawyers and exacting business agents might well approve. But if that is not your intention, then don’t work on it, don’t even by acquiescence authorize your employer to put other writers on it until you have a clear inflexible understanding concerning your right to the original material, your rights in the finished product, and your right to adapt your material for other media.
★ ★ ★
SCREEN WRITERS’ GUILD STUDIO CHAIRMEN
COLUMBIA — Melvin Levy; Ted Thomas, alternate.
M-G-M — Isobel Lennart; Sonya Levien, Osso Van Eyss, Polly James, William Lud¬ wig, Robert Andrews, stewards; Paul Wellman, Arch Whitehouse, alternates. PARAMOUNT — Abe Polonsky; Francis E. Faragoh, alternate.
R-K-0 — Arthur Ross; Bess Taffel, alternate.
REPUBLIC — John Butler; Betty Burbridge, alternate.
20th CENTURY-FOX — Val Davies; Wanda Tuchock, alternate.
WARNER BROS. — Ranald MacDougall.
★ ★ ★
DEATH TOLL: 1946
★ 1 946 has been a bad year for fa¬ mous writers: since the loss of Theodore Dreiser at the turn of the year, the lit¬ erary world has suffered the deaths of Booth Tarkington, whose Alice Adams, The Magnificent Ambersons, Penrod & Sam, and other works, made memorable films, as well as winning him the Pulit¬ zer Prize; Gertrude Stein, leading experi¬ mental writer, whose final play. Yes Is For a Very Young Man, was premiered at Pasadena this spring; Channing Pol¬ lock, outstanding popular philosopher and inspirational writer; and H. G. Wells, sometimes unkindly called “the greatest of second-rate writers” but whose scien¬ tific prophecies made him one of the most important voices of our time and many of whose literary works are des¬ tined to remain alive for a long time.
Things to Come and other films were based on his many novels. In his recent¬ ly-published Writers and Writing, Rob¬ ert van Gelder prints an interview with Wells, in which the author of The Out¬ line of History is quoted as saying: “. . . Something told me when the checks came in with that little space alongside that is the receipt, to write in a line above my signature, ‘for first serial rights only.’ .... That was very intelligent, for it gave the magazines no further rights in the stories, and I’ve sold them many, many times over ever since. And for much better pay.” In addition to the loss sustained by the Republic of Letters, we can be certain that the American Authors’ Authority lost in H. G. Wells a man who would have been one of its staunchest support¬ ers.
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