The Rock Island Argus and daily union. (Rock Island, Ill.) 1920-1923, 1921-10-12
Frederick Haskin's Letter
Advice to WouId-Be Scribes

for the money only in story form"
One scenario editor of a large
New York producing company says
that the amateurs first effort is
usually his best, embodying in all
likelihood some personal experience
of dramatic value in his own life.
If the utter lack of art in dramatic
composition does not completely
obscure the dramatic value of the
script" 1t may be accepted. Forth
with, the writer decides that he
must be a genius, and no amount
of future Encouragement can make
him doubt it. He reflects that Ib-
sen was middle-aged before he
achieved fame, that Voltaire was
over SO before he produced his best
work Perhaps he, too, is destined
to win recognition only in his de-
clining years. So he keeps on
scenarioizing.
According to this scenario edi-
tor, dozens Of expert mechanics,
BARRIERS and tailors have been ru-
ined by the acceptance of chance
scenario Having been successful
once, they cannot understand why
they should not be again, and hence
they devote their time and energy,
which might be profitabiy applied
to their trades, TO dashing of seen
arios hopelessly lacking in merit
Some, failing to get their work ac-
cepted by established motion pic
ture companies, but never doubt
ing their own ability, have squan-'
dered their savings as well as those
of their trusting friends, in produo-.
ing their own stories.
A Martyr to Art
There is the case of Tony. for ex-,
ample, formerly second violin in
moving picture orchestra, who
firmly believed that he could write
scenarios that would surpass most
of those which he had seen on the
screen. Mrs. Tony, who admired
Tony very much, thought so, too.
So she let him have the money her
father had left her in order that he.
might found his own company, hire,
an expensive cast and produce his
own work of art All of this re-
Quired so much more financing
than they had estimated that Mrs.
Tony's money was soon gone, and
she was rushing around franttcaliy'
borrowing from friends and rela-i
tives. After the first contributions,
it was comparatively easy to get
the friends and relatives to con-
tribute more, because they did not
wish to see the ship go down car.
rying with 1t the money they had
already invested. Thus, Tony was
able to complete his picture But
he is now hunting for some kind
friends and relatives who will buy
it!
Before the big feature picture
came into vogue" says our friend,
the scenario editor, land the unit
of notion picture entertainment
was the single reel, 600 feet
there was naturally a greater num-
Der OF subjects and the chances of
the scenario writer were a little
better. The compensation in those
days. however, was ridiculously
small. The scenario was the least
important consideration in the
making of a picture. / know of
one director who used to gather his
players in New York and take the
ferry to Fort Lee, n. J., where the
studio was located. He wrote his
OW IL SCSndI ~ OL4 SuLlS CALlSl tAC
ferry left the New York side"
For a long period the scenario
remained an extremely minor fea-
ture compared to the Importance of
the star. The public went to see
its favorite moving picture actors
and actresses regardless of the
type of stories they appeared in;
g1aring discrepancies in the nara
tive did not bother them. But
gradually as the number of stars
increased and the delightful novel
ty of moving pictures wore off.
they began to turn a mildly critical
eye upon the stories. Then the day
of the scenario writer dawned.
Companies started hiring individ-
uals at large salaries to do moth
ing but write scenarios for certain
stars, while scenarios were loudly
solicited from the general public.
A moderately good scenario in
those days brought from 5000 TO
81 900 which is a trif1e higher than
the rate paid today.
This period, however, did not last
long Soon it was seen that the
best copy for long six-Feel features
was undoubtedly the popular novel,
and the large companies started
buying the picture rights Of well
known books. The scenario writ
ESPECIALLY the unframed, IN
known -writer-lost out to the sue
cessful author. Even the scenario
employed by the large pro-
ducing companies ceased turning
out original movie dramas and
changed their titles to Continuity
A few of them, refusing
to abandon original creative work,
became directors This is largely
the way things stand today. The de-
mand for the works of successful
authors is still booming and as
there is every indication that the
supply will hold out indefinitely,
it is probable that the call for out
side scenarios will not be heard
again for years to come.