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8 THE MANUSCRIPT DEPARTMENT osition that a director cannot make a production from a script that does not appeal to him still holds good. The script is sent to the director most likely to approve of the story. If he likes it it is purchased. Most directors are busy men and have little time for script reading. Some will read only when they are in need of a story for immediate production and may carry stories for weeks and even months. If the author hurries him he promptly decides that the story does not appeal to him, so back it goes, often the worse for wear. 11. In the third method copies are made of the synopsis of the story. A sufficient number is prepared to supply each director. Once a week the directors meet and discuss these synopses. Pur- chase is made of the stories of which they approve, but before pur- chase the action plot is read and passed upon. Sometimes the director who first asks for the story will decide, upon hearing the full script, that he does not want it, but that very fact may gain the interest of some other director. 12. If a story is good, but the action poorly worked out, orders are given that it be reconstructed. This work is done by one of the staff- writers, who takes the story, throws away the plot of action and writes a new one in accordance with the ideas of the director who will make the story. Parts of the old action may be retained, but it is more usual in reconstructing to make a new continuity of action, since this is easier than to patch up the old, though some of the action ideas may be retained from the old plot. Entire rewriting is more apt to result in a harmonious story. The changes are apt to be sweeping and sometimes decidedly surprising to the author, who finds that the story he hoped would be played by the much-admired ]Miss Smith has been made over to give tli^ leading role to the equally admired ZSIr. Jones. 13. The reconstructors are also required to make adaptations of books and plays, and to write original stories along certain required lines. They may also write serials or series stories, though more generally these are taken from inside or contract writers. 14. Generally the Editor tries to get the stories out of the studio as quickly as possible, or to send a check in payment. He knows that promptness makes for friendships that in'turn give him first chance at desirable stories; but it is seldom that the Editor has power to pur- chase without consultation with the director, his employer, or both. . When it is realized that no two men ever view a matter from precisely the same angle, it may readily be understood that there is not always an agreement and the story that he may hold for some weeks because he believes that it should be purchased will be returned after that period because he is in the minority. Until this condition changes the Editor should not be blamed for delays. He is doing his best to get quick action. 15. It is seldom wise to make inquiry as to the status of a manu- script. It will not hasten its acceptance and it may result in a