We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
70 THE TRUE STORY be even remotely new. They are still being done because now and then a story must be put in work at once and some old tiieme must be used, but they will not be used if offered from the outside; for the Editor knows that in the film vaults are a dozen or more nega- tives differing little from each other in the treatment of the same theme, and he has only to call one of these up and tell a director to make it over a little better. He will not pay some one on the outside i for an idea he already has unless the free lance contributes something I so genuinely novel that it will pay to use his suggestion for the old theme. 11. In order to keep posted on production it is necessary to follow the stories of the film, either on the screen or in print. The best plan is to read each week the stories of releases printed in the Moving Picture World, since this gives the most complete list of synopses of current releases. It should be one of the early tasks of the novice to read back and see what has been done. Reading back, with care, for six months or a year, will give the student a better idea of what is new and old in photoplay than any book can possibly give. Here only a general survey of the field is possible. In reading the hun- dreds of actual stories and examining their sources, much more than an understanding of what is old will be gained. Much will be learned as to what to do and what to avoid in the student's own work. (1.11:7) (6.XVni:7 XLVni:9) (7.XXIV:3) (9.XXIV:4) (10. XXIV :12). CHAPTER XXII THE TRUE STORY WRITING on your script "This is a true story" advertises two important facts. It tells the Editor you are not yet a real author and it also tells him that your story very probably is a poor one, not alone because you lack training but because he knows from experience that the true story is seldom, if ever, as good a plot as the imagined idea. It is apt to be old. It is lacking in imagina- tive quality and it is not interesting or it is a story that overthrows the traditions and experiences of the editorial career. He knows that in his effort to adhere to the story the author is hampered and con- stricted by his facts. He cannot shake off the shackles of truth for the wings of imagination. This is particularly true when he seeks to put into story form a narrative given him by some relative whom he desires to please. 2. The Editor knows this. He knows that only once in a thousand times is the story designated as true really worth reading. He knows, moreover, that some unscrupulous authors describe as true the story