Ellsworth American. [volume] (Ellsworth, Me.) 1855-current, 1914-01-07

write story which will be absolutely new
and original so far as he is concerned. if
may have been, probably has been, used
over and over again. Only close study can
teach the writer what is original and what
IS not. The thing for which to strive is
the unusual. The unusual theme, the un-
| usual working out OF the theme, with an
| unusual climax.
There are some things that should be
avoided like the plague. Steer clear OF
| crime of all sorts. This does not sound
easy at first but the writer will soon get
past the notion that in order to have vio-
lent action one must have crime. Avoid
vulgarity and especially anything which
would appear licentious or salacious. Dirt
is unpleasant; therefore, avoid dirt.
Do not write stories which require
| elaborate settings. Those who make the
pictures can make them as elaborate as
they wish. Keep the scenes out OF doors
as much as possible. 1t is cheaper far to
photograph Jack proposing to Nellie
under tree than to have him do it in a
room, and is more effective.
The writer should also avoid writing
plays which require animal or child ac-
tors. Only those connected with the
studios know what their child and ami
| NAL actors can do, and they can write all
the stories they need themselves. This
rule also applies to adaptations from his
tory, books Especially copyrighted
books), the bible, fairy tales.
Do not write stories requiring special
costume, and avoid trick action. Visions
are sometimes seen on the screen, but it
is as well to steer clear of them by writing
in the action in its logical place; this can
be done with practice.
There are two main kinds of stories
drama and comedyo These may range
from melodrama to farce, but in all of
them let there be real story. Funny
Increment on the part of the players is not
necessarily a funny story. 1t will be
found in practice that the comedy is by
far the harder to write, popular ideas to
the contrary notwithstanding.
AT the present time there is a tremen-
dous demand for two Cor more) reel stories.
These are much more difficult to write
IMAM Sllklt TttlS DeCHust lutEt 1fluSl DC Il
story which will logically cover greater
space in the telling without the intro
duction OF action that does not concern
it to pad it out to the desired length.
There must be minor punch at the end
OF each reel and great big punch at the
end OF the whole story.
Here are few don'ts.
Don't pay out your good money to the
correspondence schools which claim to
teach the art of photo play writing. The
technique is about all that can be taught,
and it is easier picked up from a good
text book and the screen. No CORE
spondence school in the world can put
ideas into your head.
Don't write impossible stories,
Don't write about what you know moth
ing of. Keep to life as you see it.
Don't believe your friends when they
tell you that your rejected story is as good
as the rubbish" seen on the screen. 1t
isn't!
Don't think the studio will steal your
ideas. 1t won't!
Don't get mad and write s'sassy" letters
when a script does not come back very
promptly or when it comes back dirty.
Be polite and you will receive the best of
treatment.
Don't think that because your story is
perfectly clear to you it Is just as clear to
the reader. He has not your mind with
its stored-up ideas which supply the I'M
considered details of your story.
Don't write the obvious. Be original.
Don't write dirty or vulgar stories
Think of your mother and what she would
like to see.
DON'T send out everything you write.
Keep on working it over until it is just
right.
Don't write funny words into comedy
stories. Write funny action and funny
story.
Don't be downhearted because you can
not sell your stories at once. II you sold
your first you proba bly, would not sell any
more for long time; you might think
you were a genius.
Don't forget you have been given brains.
Use them!
l shall be glad to answer questions il a
stamped addressed envelop is enclosed
with the inquiry, not otherwise.