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244 ADAPTATION AND RECONSTRUCTION (ll.LVIII:14) (12.XVI:3) (13.XLVI:8) (15.XXXVII :25) (16. XLIV:17) (17.XXXI:12) (19.XLVI:8) (23.XXXVII :20) (24. XXXIV :5) (25.XXX:17) (26.XVII:3) (27.XXX:7 XLVII:11) (28.XXXIII:12) (30.XLIV:21) (36.XXVIII :14) (37.XVII:15) (40.x :11). CHAPTER XLIX ADAPTATION AND RECONSTRUCTION LITERALLY hundreds of persons who are unable to imagine plots or who, at least, are unable to imagine plots worth while, turn to adaptations that they may become participants in the wealth that is supposed to ,be gained through photoplay work. They are not authors: they are unable to conceive a plot, yet they seek to gain a reputation as writers on the strength of the imagination of others. In a word, lacking creative ability, they seek to become dealers in second-hand material. 2. It is conceivable that a person may be a good adaptor and yet be unable to devise an original theme. There are not lacking on the speaking stage examples of this fact, men expert in stagecraft who must devote their abilities to elaborating the work of the more imaginative. There are such, but they are few as compared with the real authors, and against this lack of creative imagination they offer an almost uncanny knowledge of the tricks of the trade. 3. But photoplay is not the speaking stage and methods differ. Few theatres save the Jargon houses maintain stock dramatists. In the studio there is always a staff of writers who must be able to write or reconstruct. It is not necessary to maintain a staff of persons who can adapt with unusual skill. In a word there is not likely to be a demand for adaptors, save for those exceptional per- sons who can do this work with unusual skill. The preference is for persons who can write or adapt as occasion demands. 4. The only hope of the free lance who cannot write original ma- terial is to get in touch with the few studios that give out their adaptations. It is possible to get an order now and then if the adaptor is in the same city as the studio, ,but the opportunities are so limited and the pay is so small that it will not pay the unimag- inative to study adaptation alone. 5. .\n understanding of the difference between the free lance and, the staff writer will help in appraising the situation. The staff man is employed by the studio. He knows what the studio has in the way of scenery and natural locations, he knows what the studio will be willing to do in the way of building new sets or sending a field company out, he knows the stars whom it is desired to feature and