Arizona republican., 1921-12-08
By H, H, Van Loan


 In the previous article I advised the writer who desires to contribute to the screen to waste no superfluous words and explained that the main thing to bear in mind is first to estab- fish a reason for the story, and then start for the climax. In fact, perhaps the best definition of any story is premise and a chase. It is better to limit the number of characters to as few as possibIeS Too many principals confuse the audience and tend to complicate matters and involve the plot This results in the audience mixing labor with it's. amusement. Those who go to the picture theater are seeking relaxation from personal or business cares, and they want to be amused and interested without any great mental effort. Too many lead ing characters confuse the audience because it is difficult to place them, and. even though program is fur nished. it is of little use in a dark ened house. There should be few characters in the cast. Keep your cast down, and. when you keep your cast down you are keeping the cost of production down. Actors salaries are very big item in the making of a picture.
 
 title of the story. Don't accept the first title that comes to you. It won't be the best title for your story. Spend as much time in the selection of your title as you spend on the story itself. Of course, many times the producer 1 changes titles, but, when you send l your story to him you have every reason for believing he will retain the original title, and, if it is really good, he probably will use it. Often we | find, upon completion of a story. that | the working out of the plot has pro- vided us with better title than we | had in the beginning. Perhaps this wouldn't occur to you. but think ii over. before and after, and see if your Il title is a good one. Make certain that your title delivers the message. The | title should attract attention, arouse interest and create desire. If it does this it is a drawing power for the box office.
 In addition to this. be sure to keeT the length of your title short. Use as few words as possible. Remember | the average space reserved for the incandescents announcing the cur rent production, in front of the thea ter. will not accommodate more than | a dozen letters. It peeveS the eX- hibitor to have long title, with foul or five words, and he has to fret and fume as he ponders how to display the name of the production without 1 eliminating some words. When he is lcompelled to reduce the number ot words in the title it affects the neat ness of the front of the theater. But more important than all else, it reg isters noticeable falling off of re- ceipts.
 The writer of photoplays must real ize that the title is just as important as the story itself. Many stories have been sold to producers because tho titles had a punch in them. The title is the first thing the producer reads. and. if it is a good. snappy one, it doesn't require much effor' to make him read the script. A goot title will always arouse curiosity. Or the other hand, if the title is not { good one the interest of the producer fails to be stirred. and he decide: that such mediocre name will prob ably be followed by an even nor, mediocre story, and he will not ever
 take the time to read it.
 However. the judgment of the eX