Pueblo chieftain., 1921-10-12
ADVICE TO W0UlO-Bt SCR|BtS

long run a waste Of time and for three
reasons:
First: To sell your stories to the
| movies you mush show fully their dra-
matte or political possibilities. This
cannot be done in a skeletonixed out
line. II you hear any one denying this
| you may be sure that he knows noth-
Ing about story writing. A story idea
must be written out to show its fun
values.
Second: 1t is so easy to dash off the
incomplete idea of a movie plot. in a
, few hundred words that thousands of
| inexperienced writer's are always do
Ing 1t. Movie editors receive thousa nds
| of such contributions every week 1t
is thus impossible for these editors to
to judge them carefully. Not more
than one In a hundred ever receives
serious attention. This is not anybody s
fault. The whole system Ia ridiculous.
WRITE THE STORY FIRST
Third: 1t Is commercially wasteful
to submit scenarios to the movies. Any
story idea good enough for the better
movies Is good enough for the short
story. and. as story. can generally
be sold to magaz zine for more than
| movie will give. Once sold to a mag
azine. 1t stands a much better chance
of being sold to tho movies. Tho full
story shows its dramatic value and a
ooit " tHt ihoHieS TS uOuplp v.
Furthermore. story sent to a maga :
Zinc Is almost certain to be read and
considered.
The only exception to these re-
marks is the professional scenario
writer's employed by the motion pic.
!. turc companies. The existence Of these
highly trained experts within the
studios is natural result of tho ovo-
luton Of the movies. II Is their duty to
take stories; novels or plays which
the companies have purchased and
pick out the episodes that can be
photographed. white explanatory
titles and generally arrange the ma
terial FOR screen production.
When story writer's attempt these
arrangements or continuity as 1t is
called. they compete with these spe-
cialists. II is not worth doing. And tho
expert continuity writer's in general
hnd that 1t is a waste of their timc to
try to invent plots or write stories
For one thing. they arc too busy. and
their mastery of continuity is no
at all about creative writing.
Let the story writer by all means
stick to his craft. II his work possesses
motion picture possibilities, the movies
will find him out. He can give his
ideas a real run for the money only in
story form"
One scenario editor Of large Now
York producing company says that the
amateurs first effort is usually his
best. einbodyins In all likelihood some
personal experinccc of dramatic value
In his own life. II the utter lack OF art
In dramatic composition docs not com
pletely obscure the dramatic values OF
the script" II may be accepted,
Forthwith. the writer decides that he
must be a genius, and no amount OF
futurn discouragemcnt can make him
doubt It. He reflects that Isben wa,
middle -agcd before he achieved fame
that Voltairc was over 80 before he
produced his best work. Perhaps he.
too. Is destined to win recognition only
In his declining years. SO he Keeps on
scenarioizing.
According to this scenario editor
dozens of expert mechanics. barbers
and tailors have been ruined by the
acceptance Of chance scenario, Hav-
ing been successful once they cannot
why they should not bo
again. and hence they devote their
time and energy. which might be
profitably applied to their trades. to
dashing off scenarios hopclcssiy lack-
ing In merit. Some. failing to got their
work accepted by established motion
picture companies. but never doubling
their own high ability. have
squandered their savings ms well as
those of their trusting friends, in pro-
ducing their own stories.
There is tho case OF Tony for OK
ample. formerly second violin In a.
moving picture orchestra, who nrtnly