The Washington times., 1916-04-27
Young Mans Fancy Lightly
I Turns to Thoughts Of Love.
Preserved In CelIuIoid.
..MIcRoBE BITES WOMEN, TOO
All Mankind Seems To Be
Infected by the PhotopIay-
wrighting Germ.

ario writing!
And that goes double for young
women, IL the daily mail Of the
photopiay editor Of The Times means
Scenario writing Is the newest
pastime of the nation. 1t appears to
be only second in It's general adoption
or acceptance, to the haoit OF goink
to see motion picture productions.
recent census shows that there are
exactly 17,72S motion picture thea
ters IN the United States. IL each
one of these theaters gives an aver
age of three shows per day 10 Nv
people each Il means that n ensS.y
Now. striking out of that total the
number of children In the audiences
and a number Of the children thus
stricken out would undoubtedly ike
to write scenarios-youn find q re- re-
mainder OF approximately 2-ooo.oO0
crown persons who patronize motion
pictures. And II would be conserva-
tive 10 state that at least 1889 $40 or
these people want to write scenarios
The photopiay. editor OF The Times
excerpts himself for the reason that
he never wanted to write q scenario
and has never tried.
Scenarios In Demand.
Every company producing pictures
wants scenarios that are good'
strong, dramatic stories. Every
company is securing the country to
find people who can write them.
And there isn't a single author IN
the country barred from this work.
Authors whose work Is In demand
by the magazines can get twice 70
three times as much money from
motion picture companies for seem
arios-and many of them do get IL;
Every magazine that IN published
3 and every new book Is examined by
, the lynx-eyed scenario editors ana
producers In the hope OF uncovering
some new genius. And still there 10
a shortage In photoplaywrights.
The answer Is that scenario writ
ing is a business that must be learn
: ed-a branch of literature which Calls
for the imaginative quanties Oh the
novelist and the playwright com.
bined. No unschooled. inexperienced
person can expect to have them.
That is none but the rare gentuo-
one or two In generation.
In the past there have been large
sums made by people who went into
the business Of scenario writing
success OF It sufficient TO tempt
theyu to devote all their time to 1t.
But that type of scenario writer is
goins out Of vogue. The patrons OF
photoplays are demanding better
plays and better plays demand
trained writer's.
One Of the very best evidences Of
been done by Cecil and william De-
Miiio in the ,I.asky company. of the
Paramount group. Both Of these
men have been working for two
years writing, adapting, and produc-
ing plays. Both brought TO their
work the result OF years Of exper-
fence as drarnatists and actors on the
stage. Both were very successful In
the theater.
Experience Of the DeMilles.
William DeMille has written two
photoplays-and has personally pro-
duced thern-which seem to stand out
far above anything that has been
produced recently. Cecil DeMille 10
represented particularly by one
which. by the way. he did not write.
bull. q man who spent years learn
ing TO write. and who forsook the
position of dramatic editor OF the
New York Tribune. The play was
produced l., this city this week. with
Marie Doro as the star.
The Heart Of Nora Flynn" the
DeMille-Turnbull play to which ref
as representing the perfection of pro-
duction and coordination between
the producer and playwright that IL
essential in photoplay producing and
writing. It "a the sort of play aspir-
ing playwrights should carefully
study. II IL not q marvellous piece of
dramatic work in any sense. but 1t
IL almost perfect as photoplay.
II these men worked 30 long and
So hard to produce this one result.
how much longer and harder must a
person expect to work who has not
their advantages Of training and
their advantage of studying at first
hand all the elements of produce
ton? .E
However, there 10 always the elu-
sfve genius who wants to try. And
our mail indicates he Is numbered
even as the population Of the Dis
trict is numbered. Hence the advice
TO aspiring playwrights is to write
what you think and send It to any
one OF the producers. In. this con-
nection II might be we'll to bear in
mind q few things. In The Times
yesterday Alice Davenport told how
Mack Sonnet was accustomed to
work in the old days OF early Key
stoning. Frequently he had no see
mari He Just told people to do
up as the acting progressed.
Things have changed. The rules
for scenario writer's that are given
here are a few brief extracts from
circular the keystone scenario
writer-in-chief, Frederick Palmer
has issued for the guidance of his
associates. The circular Is a list OF
"nont's." 1t follows:
Keystone "Don'ts."
DON'T invent excuses - invent
stories.
DON'T forget we pay you to
think. but think along our lines.
DON'T use cut-backs. go on with
your story.
DON'T forget that dialogue does
not photograph.
DON'T make fun of any society
or labor organization.
DON'T despise suggestions; even
an elevator boy gives you a lift.
DON'T have any OF your char
acters dream anythinE-do all the
dreaming yourself.
e DON'T borrow any storieb from
the magazines-we read twice as
much as you do.
DON'T rewrlte old moving pic
with steamboat. swim out to dry
DON'T write your story 40 a
subtitle will tie necessary to ex-
plain a situation.
DON'T forget the value of a
thrilling situation. try to get the
Alamant af auRnanaa into II The