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Dreams Wanted
Nothing could be more intense than the application of a studio reading department. If a good novel or plav is overlooked, the discarded story would be quickly bought by a competitor. If one of these proved an outstanding success, the oversight would stand as a blemish on the professional name of the reader or head of the story department.
But studios do not discourage the efforts of new writers. They take great delight in the discoverv of a new writer of exceptional merits. No barrier is raised against the work of anyone whose method of presentation shows that he has passed the primary grade in the art of writing. Studios, however, are too busy making a regular succession of pictures of high merit to teach lessons in writing. They seek, rather, writers who have proven their ability by publication, and such tested authors find their work treated with eager, absorbed attention.
Players and directors watch closely even' move of a competent story department, for their livelihood and their professional reputations depend on the selection of adequate stories. Every night as thev leave the studios they have scripts or books under their arms.
After Mutiny on the Bounty was bought bv the late Irving Thalberg, not a copy could be found in a Hollvwood book shop, for all had been bought by ambitious he-men actors of the dozen big studios. The book shops were sorry when finally the main parts were allotted to Charles Laughton, Clark Gable, and Franchot Tone, for sales of the volume fell off at once!
No purpose would be served in listing here the hun
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