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18 TECHNIQUE OF THE PHOTOPLAY that the Moon did only western stories. You're a polite little drama of eastern society life. You may be all right in your place, but the Moon studio is not your place. Ice water may command fabulous prices in the place of eternal torment, but no Esquimau is going to pay a dollar a glass for ice water along in the middle of January. The secret of successful selling is to send the wares where they are wanted. Your author should have known that. You get to the Moon studio in the morning mail along with about a hundred other scripts. The Editor's assistant takes your overcoat off and puts you on the desk with the others. At the Moon the Editor does all the reading and after he has things started for the day he begins to read. You're a young and rather innocent script and you blush when the Editor says several very naughty cuss words in rapid suc- cession, but you don't altogether blame him. He has come on a script with three of the middle pages lightly gummed together. You know that the Editor knows this was done "to see if the stories really are read." You are glad your author did not carry out his plan of sewing a couple of pages together for the same purpose. The Editor sniffs at the next script. It is a pretty little thing, done with a two color ribbon, all the leaders and letters in red. The editor says he wishes that the author would put his time into his work instead of painting pictures with a bi-chrome ribbon, and back the script goes into the envelope. It might have made a real Moon story if there had been any real story there. The third script is just glanced at. It is written with a pen and the Editor has no time to puzzle out the writing with ninety odd typewritten scripts waiting action. It may be a good story, but most people who can write good stories know enough to have them typed. The next is a gem, lots of action, plenty of great big scenes, you are rather surprised to see it slip into the return envelope. "Not so bad," murmurs the Editor, "but where does that guy think we're going to borrow a submarine and a battleship in the Rocky Mountains!" And so it goes, one story after another goes into its envelope and with each your hopes grow less. Your turn comes. Just a line or two and your synopsis tells your utter unfitness for that studio. Back you go with a rejection slip and the author won- ders just what it means. The slips all follow the same general form. The Editor re- grets that you are not available for present needs and hopes that your author will try again. He is careful to state that rejection