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PRODUCING THE PHOTOPLAY 19 does not imply lack of merit. It is rather a confusing statement to a man who does not know. You cannot tell your author that it is a simple form that covers every case and that it is sent to everyone, good and bad alike. It is neither encouraging nor dis- couraging. It is one of the most non-committal things in the world. But your author does not know this, so you lie on the desk while he consults with his friends. His friends all tell him you are a great story. They do not know a good story from a poor one, but that does not matter. It is easier to tell your author that you are great than to be drawn into an argument. Smith, who runs the photoplay theater, casts the deciding vote. He tells the author that he only wishes that all the plays he gets were as good as that, and why are you not sent to the Planet? Off your author hurries to send you to the Planet with the statement that Mr. Smith, of the Unique, suggested them be- cause it is right in their style. The Planet Editor smiles a weary smile. He knows that Smith is thinking of the tickets he can sell your author. Smith doesn't know much more about unpro- duced scripts than your author does, but he is enough of a show- man to cry "Great!" instead of "Worthless!" That you happen to be for a man lead and the Planet prefers scripts that feature their leading women is something that doesn't bother Smith, but it does bother the Editor and you go home again. By now the author knows you must be good and you go right out again. This time you have the novel sensation of being read. Your synopsis looks rather attractive to the Constellation company and your action is glanced over. The Editor puts you back in your envelope. "I wish I had time to fix that up. It's not half bad." That's your epitaph there. You are not half bad, but you are not much more than half good and the Editor cannot spend a day getting you straightened out. You are turned down at the Bear because they have plenty of dramas and want only comedies, and you stay five weeks at the Lion company, most of the time in the pocket of a director who is trying to get the time and the courage to fix you up. Then your author writes a sharp letter and wants to know all about it, and the Editor tells the director that the author is yelling for his script and the director says to let the author have it. You stood a good chance, but your author spoiled it by being im- patient. By the time you have been the rounds your author forgets and sends you to the Bear again. This time they have all the comedy they need and want dramas. A director takes you around with him to read and gets a chance in a few days.