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CHAPTER XVII 55 used in the studio. If the story can be planned so that there is a mob before the house and but few are seen inside, then a mob can be hired for the effect and a few retained for a second day for the interior. When the scenes are joined, the scenes inside, alternating with the exterior scenes, will give the suggestion of the mob through- 'out. There should be a certain unity of locale. It does not pay to write scenes in which orange groves and snowbound forests are mingled. These are made only when some director works north in summer and south in the winter. He may take some snow scenes be- fore he starts and finish in a sub-tropical environment, but unless you know the director and just when he is going and precisely the type of story he wants, you cannot sell. 15. It is better to write a story all northern or all southern if you cannot get a story that could be made either in the north or south as convenience suggested. There is no reason why you cannot. If you have a story of a Michigan lumber camp it might be turned into a Georgia turpentine camp and made in Florida. Precisely that change has been made to enable production and even more radical changes might be made if required. 16. Little things count as well as great. There is no expense at- taching a scene wherein John takes a train to go away. The director takes him to the station about the time a train is due and sets the camera up. When the train comes in, John gets aboard. Instead of entering the car he goes down the other side and when the train pulls out he is close to the camera still but out of range of the lens. Such a scene costs nothing. If you cannot get a railroad station you can have the rear of the platform. A couple of hacks and a few people with satchels and suitcases will turn a warehouse platform into a station very nicely at a pinch just as the First National Bank may be a bakery in real life. But if you require a train to stop between stations it is necessary to hire a train to run under the orders of the director at a cost varying from $50 to $100. 17. It costs money to go up in an aeroplane, but if you merely want to drop a brick or a sand bag from the plane on to your comedian, then you can use a stock picture of the aeroplane and a real cloth brick in the succeeding scene. 18. Most beginners make the mistake of trying to compete with the advanced writers on their own ground. They try to get effects too novel, knowing that novel effects are liked, and they do not know when they are practical and when they are not. In an effort to convince the Editor that a story is practical they will write in a lot of suggestion and direction and so still further irritate the Editor and director. This is always a mistake. If the studio wants' an unusual story an order will be given someone who knows how. Perhaps a fifty word synopsis will be telegraphed an author with instructions to write a two reel story and hurry it along. These men are looked to for the special stories. The early field of the free lance is limited almost entirely to the story carried by a simple but unusual /