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342 CENSORSHIP OF FILMS must exist. They cannot be made to understand that a writer is successful only through long and careful study. They are assured that there must be some more speedy means of attaining success than hard work and that only the masonry of the craft and a desire to hold the advantage keeps this short cut a secret. 16. As a matter of fact, a knowledge of the personal histories of all of the writers of merit of today fails to reveal one single instance of a success based upon other than hard work and long continued study. There is not a single writer of even moderate success who has not put in from two to ten years of hard study of photoplay or general writing. There is not one single instance of an overnight success nor a single instance of a lasting success made by other than a person who is not only educated, but well educated. This does not necessarily mean a college degree. It does mean brain development and breadth of mental grasp through some form of study. 17. No writer can tell you anything that is not to be found in this text book. No writer will or can spare the time for the personal instruction of strangers, and most of them avoid the seeker after advice because they know that ninety-nine times in each hundred the inquisitor does not want to be told to study and practice, but wishes'< to be told how checks may be obtained at once. 18. That a writer is successful does not give you any more right to approach him than you have to approach the passer-by with a demand for ten dollars on no better grounds than that you need the money. Make your own fight. Ground yourself in the fundamentals, and if you deserve advice and help it ivill come to you unasked. CHAPTER LXVII CENSORSHIP OF FIL:\IS AT present most American-made pictures as well as those made abroad and released on regular dates are submitted to the National Board of Review, which is in no sense an official body, being composed of delegates from the various civic societies forming The People's Institute, of New York City. The board derives its sole power from the manufacturers whose films are thus submitted. There is absolutely nothing to prevent the distribution and exhibition of a film not passed by the Board save the common sense reason that experience has shown that a picture so disapproved will be stopped by the police in many cities, not so much because it has not been passed by the Censors as because it is unsuitable for display in theatres so largely frequented by young people. 2. The board was brought into being at the request of the exhibi- tors of New York City, and has been maintained largely through the contributions of the manufacturers, because it has been found that