The Washington herald., 1917-08-20

So many letters come to me every
week asking advice on the writing
and submitting of motion-picture
scripts. 1 really think that perhaps
l may be able to tell Just a few
points that will be helpful. 1t is so
hard unless you understand the mar
ket you are writing for.
II Is all nonsense to say that out
siders have no chance. 1 have known
over and over again OF cases where
a chance script that held a good story
and original situation was accepted,
even when the technique of scenario
writing was not understood at all by
the author.
THE Soul OF Kuri-San," Mr.. Sessue
Hayakawa's wonderful picture Of Jap
an and San Francisco, was taken
from a four-page script written by
young California girl. But in those
four pages she had outlined a wonder
ful plot that fairly gripped you.
Many writers who have taken long
courses to master the technique of
motion-picture writing can turn out
perfect scenario, but they will not
possess the original idea behind it.
IT is like a perfect body without the
soul
The most valuable thing today is
an original idea. So hard is il to
find a workable one that can be
adapted properly, that We fall back
many times on books that have been
already published. I feel personally
that THE Little American" which
Mr.. De Mile gave me. Is one of the
most appealing and inspiring plays
l have ever had to work in.
While love "Rebecca" dearly, and
poor little Sara Crewe" in THE
Little Princess" still 1 cannot tell
you how the part of Angela held
me. felt as if she really typifed
all the young American girls, and all
girls who have suffered through this
war. Mother still leases me a little
because 1 cried so much when it was
being taken.
1t is that human appeal that you
must get into your work IL you want
to be a successful writer of motion
plays. You must think of four things,
your audience, your star, your direc-
tor and the message you are trying
to send out to the public. To sue
ceed you must have a story that
holds so much pathos, so much joy,
such a mingling of tears and smiles
that it is like a page out of real life.
1t is this sort of story which gets
over" as they say, and holds the
people to you.
Now 1 love to play children's
parts. 1 had more fun out Of Gwen
in THE Poor Little Rich Girl" than
l can tell you. 1 am having more
childhood, right now, playing So
called "kiddie" parts than when 1
was a child myself. Because then,
don't you see, 1 had to be big sis
ter" to Lottie and Jack. 1 often tell
mother when she asks me why l
want to buy something new, that
these are my toys. I told her that
when 1 gave her a ring after she
was SO i'll, and she just held me close
to her. and patted me.
You didn't have all you should have
in the old days, dear" she said soft
ly. IF you take pleasure in doing it,
it's all right to me, child
And ! do take pleasure in II. But
there, started in to tell you how
to write a successful script-and see
how far I have rambled. What /
really wanted to impress on writers is
this, don't be careless and haphazard.
Writing is just as much a business
as anything else. Given inspiration
and ability, you may still fall short
unless you know how to send out your
work throush ths right ehsansla,