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XIX. THE MULTIPLE-REEL The series story — the preparation of the script — how to break into parts — numbering the scenes — the synopsis. XX. ADAPTATIONS Adaptations not desired — studio staff is better equipped to write these scripts through their knowledge of just what is required — preparing for adaptation. XXI. THE TALKING PICTURES How they are made — the limitations — timing the picture — range of subjects — their future. XXII. COPYRIGHT AND THE COPYRIGHT STORY What copyright is — what protection afforded — manuscript not copyrightable — what may and may not be taken from the copyrighted story. XXIII. CENSORSHIP OF FILMS The National Board of Censorship — police censorships — what is forbidden, and why — when crime is permissible. XXIV. THE STOLEN STORY Do Editors steal stories? A frank discussion of a ques- tion you are bound to ask — how duplications occur. XXV. YOU AND THE EDITOR A felv hints on how to sell to advantage — your attitude toward the editor — the slight value of personal pull — querying manuscript — lost scripts. XXVI. SELF CRITICISM Difficulties of self-criticism — lack of proper perspective — interest in the subject — value of delayed judgment. XXVII. How TO STUDY The value of practise — the need for study — the theater as a schoolroom — self criticism — the value of advice. XXVIII. THE UNASKED QUESTION Things you will want to know explained in detail. XXIX. TECHNICAL TERMS Terminology of the studio — definitions of studio phrases — new meanings given words in common use. XXX. COMPLETE ACTION