davidaulloa/AmericanStories huggingface dataset:
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
MONEY MA1UT.

New York, May 2s.-ca1 money firm;
high per cent; low I per cent: closing
call loans against acceptanees ~ per
cent. Time loans steady: so days and
20 days 444h per cent; SIX months ~
per cent. Prime mercantile paper ~ o
l., per cent.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
TOLEDO dRAu.

Toledo. o., May 3S.-Wheat, cash
sl.39: July 31.28.
her sll.45.
s11.75.
Timothy. prime cash $40: Nay $40:
September $40.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
DRY GOODS.

New York. May 23.-tot'on goods
markets were quicter to-day. Yarns
also were quiet and generally firm. The
largest lines OF wool goods ave been
withdrawn from sale preliminary TO a
revision upward on some numbers when
again Offered Burlars were stronger
following hui,tsh cables received from
'a!"'fta. silks wcrn E""'raj,y qltr'
With raN s;lA ho'dtn. stead.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
1.AcFAwaNNA,s EARNINGS.

Tho Larkawanna railroads. report for
tn" first quarter Of 1922, as submitted
10 the Public. Scrv!"" commission OF
New York state, showed its annual divi-
d+nd Of s. n &har" par $50 carned
neariy one and Il half ines As COM
Iarrd with that for The corresponding
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24

pittsburgh, May 23.-Hogs, receipts
loo: lower; heavies 310.s0w1l.oo:
heavy yorkers and pigs $11.20911.26.
Sheep and lambs. receipts 500: lower:
top sheep ;7.75; top lambs $12.6o.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
CHICAGO GRAIN


prices for wheat to-day resulted largely
from supposed Indications tA"t wheat
Accumulated IN Ch!rar" w"u!d be
promptly moved ont, wiih Eur"r' f"r.
nishinE Il good outlet. TIL" mIrN"t
closed unsettled n = 20 - !"nlS "ri
July $l.25Ts to $40. Corn finished IN,
CNHageI TO asr higher: cats NJ IS %
cent and lrovis.u"S ULyhaH@od 10 l.
cents off.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24

N. Y. COTTON MARKET

Wheeling. ". Va. MAJ 80. 70
Furnished The lnteiisencer by 4. e.
aaStcn K Co. members New York STOCK
t~Hchanee. Second floor &ational Bans
Of W Va. Bldg.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
STANDARD OIL
SUBSIDIARY STOCKS

Wheeling. W. Va. May 20, 80.
Furnished TIE ln;"iliccnCer by a. z.
NaSten < Co. members New York StocA
Exchange. Second floor National Bank
81 W. Va. Bldg.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
BOSTON COPPER STOCKS

Wheeling. ". Va. May IS. 20.
Furnished The lntelllEcnccr by A. K
AaSten & Co. members New York Stock
Exchange. Second floor National Bank
~ ". Va. Bldg.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
N. Y. STOCK EXCHANGE

Wheeling. ". Va. May Is. 90
Furnished The ln:elliGencer oy A. z
Nasten & Co. members New York Stock
Each1ngs Second floor National Bans
0. " Va. tlde.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
RNTIQEAmE

OIL city, Pa. May 23.-Credit balances
81. rs: runs 1929; average $3.50; ship
merts S9.352; average 61.30s.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
N. Y. CURB MARKET

Wheeling. W. Va. May %. 80.
FnrntShcd The Intclilgencer by A. 2
s'lstsn X 50. members New York STOCK
Exchange. second floor National Bank
nf " Nn RlHR
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
PITTSBURGH STOCKS

Wheeling. W. Va, May .. 20
Furnished Tho lntclliHenCer by A.. z
NastGa. x Co. members New forA StocA
Exchange. second loo National HanS
II ". VI. Bldg.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
LOCAL STOCKS

Wheeling. ". Va. May -. e..
Daily quotation tst Wheeling Str.a
Exchange. COMPLIED for The iniclIi.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24

Total sales l.42l.oOO shares.
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24
= :
AND BG9S
BUTTER.
PRODUCE MARKET

b. +. BACHMANN d oDSS
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24

Range Of local stocks to-day:
The Wheeling intelligencer. [volume] (Wheeling, W. Va.) 1903-1961, 1922-05-24

STOCKS. 7open. High. Low. Close.
New-York tribune., 1922-07-30

words to set it forth and tell it's plot. Leave
the working out to the continuity man and the
director. The idea is what counts"
l have heard writer's complain that after
their story has come back they have recog-
nized in later picture just the sort of action
scene they originally submitted, and these
writer's have been angry to the point Of sug-
gesting, nay, even Of accusing, the studio
people of the theft of their ideas. AS mat
ter Of fact, the explanation is that what the
author imagined original with himself or her
self was nothing of the kind. Unconsciously
and unwittingly, it may be, there has re-
mained in their minds the unrecognized memory
of some scene they have seen in since for
gotten picture and unconsciously it is repro
duced in the scenario. Thus the plagiarism
attributed to the studio lay rather with the
would-be author. plagiarism, unconscious or
otherwise, sticks out all over them," says
Colonel j. E. Brady editor of Metro Pictures
Corporation, who declares that the number of
good stories does not begin to meet the de-
mand for them. "The trouble is that ninety
per cent of the scripts received haven't grain
of originality in them"
Joseph M. Schenck is another producer of
note who tells the same tale Of shortage of
acceptable material. Of late he has gone most
ly to the big novels for material for Norma
Talmadge
Lest you be appalled, by the seeming hope
New-York tribune., 1922-07-30
A Sure Recipe for Success
If You Can Follow 1t.

There 1t is in a nutshell. A real idea
logically and simply worked out without need.
less discussion, directly and clearly to an in.
evitable conclusion Therein lies one wav zvbe,.
your story won't come back
Hope Hampton, whose latest starring 70.
hicle is Light in the Dark" tells me that the
reason SO many scenario writers fail is because
they cannot or do not put themselves in the
place Of the audience. In other words, tbey
cannot properly vismoIize their work
1t should always be borne in mind" saws
this star, that thought and impression can
De effected only by action. Perhaps the ideal
him would be one in which there were no sub
titles at all. I do not know whether thzt
could be, but the next best thing is where tbs
acton is so clear, so convincing and the coz
clusion so inevitable that only minimum
number of sub-titles is necessary.
what is action?" continued Miss Hampton.
Action need not be extravagant or boisterous
The mere raising of hand, or the lifting of
an eyelld is sometimes forceful action. Action
is something done with purpose, the carry
ing out of thought, anything which helps
the story directly onward and leads the move
ment forward to the one and only possible
end. Your story must start from given
point and always travel directly forward,
letting no side interests detract from its
progress. Every character should have real
reason for being in your story. Suspense,
surprise, sympathy-all count, as does an un-
expected twist But in all your writing stick
to life"
After all, you can't blame the producer even
though he may err in sending your story back.
It's different with, say, magazine editor, ana
even he sends stuff back-lots Of it. The
magazine editor may, with not very disastrous
results, use mediocre or even poor story,
provided he makes sure his magazine contains
at the same time two or three good tales. The
strong stories will carry the weak. But with
the phctoplay producer it is very different AL
his eggs, SO to speak, are in one basket. In &C
cepting a story, or rather in making picture
from it, he risks the possibility of losing some
thing like 100000. 1t makes him more than
careful of his choice.
New-York tribune., 1922-07-30
The agl sends
of adventure in foreign lands

lessness Of your case, right here let me cheer
you up somewhat. IT, as the so-called scenario
textbooks tend to make you suppose, you had
to turn out the finished product to get your
story accepted, you might well feel ready to
quit. But the opposite is the case, In fact,
the amateur need not, and should not, concern
himself with anything beyond real story,
simply and directly told. You need not and
should not worry about entrances, exits, fade
outs and other technicalities. Leave that to
the specialist-thc man or woman whose busi-
ness it is to put the accepted story into prac-
tical screen form. The amateur is not ex-
pected to write 'continuity"-that is a job
separate and apart and is the task of the
studio expert.
"1t is true that only a small percentage of
the stories submitted to motion picture pro-
ducers by amateur authors is accepted" says
Marshall Neilan, one Of this country's most
notable producers. "Yet the reason for this
seems rather obvious. If man advertises
for original plans for country home and
hundred different plans are received, 90
per cent being submitted by amateurs and 10
per cent by professional home builders there
is little doubt that the accepted plans would
come from one Of the 10 per cent.
While among the plans submitted by the
amateurs there doubtlessly would be found
many exceptional ideas, yet the individual
plans on the whole could hardly be expected
New-York tribune., 1922-07-30
There Is No Short Cut
To Amateur Success

This failure may be laid to one of two main
causes Either behind that perseverance lies
insufficient talent, or perseverance is not
companed by such adaptability to art as
eventually to ferry the author across the line
which divides the amateur from the skilled
writer. For after all, as one producer points
out, what reason is there why the raw amateur
should succeed as an amateur? Except for an
occasional instance of native genius, it is only
after the amateur has practiced and practiced
and actually progressed beyond the amateur
stage that success can come, which is true of
practically all lines of endeavor, not merely of
screen writing. Rupert Hughes, highly sue
cessful author and prominent in screen
writing is reported to have collected hundreds
of printed rejection slips before he succeeded
in selling a story to editor. Had he been
possessed of less perseverance the world might
never have heard Of him as writer.
Except in an occasional case, ,tt}se days when
off moments of leisure could bring quick
cess are gone by. Scenario writing is bus-
ness requiring as much attention as any other
business if you are TO achieve success. But do
not misunderstood me. II you cannot sell
stories wrought out in side-line time, that does
not mean you cannot practice in that time.
But don't expect to sell until practice and
study have finally equipped you to cross the
amateur line.
One great Shortcomings as see it, in anna
teur writers for the screen is general
tendency to overlook the necessity for constant
action of direct or symbolic nature. They
send their characters on long journeys while
they describe minute details of preparation
and incidents en- route which do nothing to
further the movement or help build toward
the climax. The result of such material in
picture form would be extremely draggy and
uninteresting.
Frequently, again, they have bus single
situation, but seize upon it to build what is
intended to form five or six reels Of picture
material. That situation is perhaps unusual,
or it may at least possess some slight element
Of novelty. But that is not enough.
In the great majority of scripts by amateurs
the characters overdrawn, and conse-
quently are grotesque inconsistent with the
typically human instincts and with the things
that motivate and actuate the average person
Ifsother words, they fail Of being lifelike, and
so fail Of conviction.
New-York tribune., 1922-07-30
Two Examples of How
Not to Do 1T.

For instance, in script / read recently
there is the character of wife, intended to
be the heroine of the story, who leaves her
husband and young baby through jealousy. In
calling at his Office she had come upon her
husband engaged in earnest conversation with
an unknown attractive woman. The author
excuses the desertion of the baby by mere
subtitle that the mother, unschooled in busi-
ness life, felt unable properly to support it.
While an audience might possibly have some
sympathy with her action toward the hus-
band it could never sympathze with her in
any such reason for abandoning the child In
another story a girl walks into a sitting room
to await her fiance, who has the fault of rarely
arriving on time. To control her impatiencs
and irritation, she is shown looking over
several Volumes finally selecting one and COM
posing herself for long meditation on its
contents. There was no relief action with the
nance. The author did not know sufficient of
screen necessity and technique to develop it,
Such Inconsistencies and errors in script
writing are typical Of amateur contributors.
Guy Bates Post, who, in turning from a
long and highly successful stage career to
motion pictures, has read scores of manu-
scripts. says:
"Thc main trouble with amateurs is that
they persist in trying to write about things
they do not k,,ow. The sales girl sends me a
scenario of society life; bookkeeper tries to
sell me a tale of adventure in foreign Iandsl
And SO it goes We seek for romance even in
New-York tribune., 1922-07-30

to measure up to those submitted by the
professionals.
"And SO with screen material received from
amateur writer's throughout the country. Ere
quently the producer finds among this material
some wonderfully original matter, but, taking
the story on the whole, it is generally found
to contain nothing in the way Of suitable
screen material, with the exception of an oc-
casional flare of genius here and there.
"As a rule, the stories received from anna
teurs may be divided into two classes, namely,
the type of scenario that has been carefully
worked out by the author from the technical
standpoint and which embodies more technical
detail than worth in plot, and stories that,
either subconsciousy or otherwise, are an as
.emblage of situations that have proved Sue
cessful in past productions.
"Most amateurs seem to pay more attention
to the perfection Of technically we'll written
script than to the subject matter of the plot.
If amateurs would forget all about close-ups,
exits, crises, etc, and would tell their plot in
simple storytelling fashion, they would have
better success in getting over the high lights
of their stories.
cit is surprising how many persons will be-
come enthusiastic the idea that they have
hit upon something new in the way of q plot
tor the screen, and who are merely writing
something that they have seen on the screen or
read somewhere. In most stories received from
New-York tribune., 1922-07-30

as to affirm that, but do be-
lieye that Of all the people
you meet, one out of three has either tried to
write for the movies or has contemplated
doing so. And that, for the whole Of the
country, makes a vast total.
The promising thing about it all is that
what all these thousands Of individuals are
trying to do is not TO pour water into the
ocean. but to meet need that really does
exist There is, unquestionably, dearth of
suitable material for screen use. The movies
consume material fast The professional
writers cannot keep pace with the demand, nor
can they go on writing forever. Novels, some
Of them later successful and others that are
not, are bought up for the screen while still in
proof-sheet form. Magazine stories are con-
tracted for before they appear in print It is
said that such, at first sight, unlikely material
as Wells's "The Outline Of History Ia to be
used for the screen, and it has even, some
what jocularly, been suggested that either the
telephone directory or "Whos Who" is next
in Tine for perturbation. Certain it Is that
the first basic need Of every motion picture
producer is good stories. Without that it is
foolhardy to go ahead. Stories replete with
dramatic situations and human appeal are
what the movie producers are hunting for,
high, low and all the time.
The situation Is unique. On the one hand q
vast number of people eagerly trying to write
for the screen, and on the other hand scores
Of producers falling over each other in their
anxiety to find good material. Yet for one
amateur writer who succeeds, a thousand fall
Wherein lies the trouble? What is the
remedy?
OF the multitude Of people aiming at screen
story success a big percentage have the de-
sire, but lack the proper mental equipment to
further it. Still, there must be thousands of
others who have that equipment imagination,
education and leisure, and some others of the
necessary qualifications. Of these, some are
early discouraged by the difficulties Of the
task, and so fall by the way, while others per
severe and yet fail to sell their scripts.
New-York tribune., 1922-07-30
Maybe your trouble has been that you
haze tried to sell comedies.

our writings. We ourselves may find it thus,
but we cannot bring it to others in this fash
ion To be interesting one must be convincing,
and we cannot be that unless we really know
the life of which we write But there is a
trend both on stage and screen for intimate
stories, and there is the field for the amateur
scenario writer of average experience.
Another great fault with woud-be writer's
is that their imagination is extensive rather
than intensive, with the result that the action
IS scattered from pole to pole or even to
locality unfamiliar as Mars Many an
amateurs story would take two years to
picturize."
Richard Barthelmess finds that in his ex-
perlence nine out of every twelve stories he
reads are wholly lacking in one real idea, one
original theme. 1t is said that there is nothing
new under the sun, therefore the greater is
the necessity to give some novel twist to an
old theme. Without that your story is pretty
sure to be returned with the scenario editors
regrets" Mr.. Barthelmess declares that so
much space is taken up with unnecessary and
wasteful side issues, not to say dialogue, that
IN most cases any real "meat" story might
have is buried under useless encumbrances and
so out of juxtaposition to the central story
that no editor will wade through it. and your
manuscript comes back"
81 do not believe" says this star "that ann
amateurs story requires more than 1000
New-York tribune., 1922-07-30

The reason why more amateur stou,
not accepted by producers is sinnIv -
they are amateur stories. I do not soo
this condition could be otherwise. AZ :.
other line Of endeavor, it behooves H.
teur to be patient and keep at il until /. '-
overcome the usual mistakes of anate,,rn . ''A'
In other words, Mr.. Neilan saws if ,,o,.
heve yo have the talent stick to It A. Ds-
to the amateurs efforts to develop intn .'e'p
fessional, Mr.. Neilan adds: pro
Figure in your minds eye if vo,v =.
tions are logical, possible in life and 80
for the camera. Write about tbinon 9''o's ..
which you are familiar. Remember th.4 .t 80
man stories are the most likely to s,,..I's '4-
Actho" IS the prime requisite in photonlsn-
Write the story for the sake Of the nIot s.'.,s
Write story that the masses will rsS.i .'p'''
stand" ef-
Turning for moment from the nvod,,1..,
point of view, let US see what is tho ne,,.~~
critics angle on desirabiities in screen a+.-
If what | quote may seem to snacl Oi'''
production than Of writing. there ;s =. u
lesson for the author whose business. aftar ~
t is. rather than the director's, to sunnlr 81
situations F"' 'ne
Many of the scenes have been made r..x
lngfui as motion pictures" q quote the c,;.i.
Of leading New York newspaper on . raa""s e..ss
film) Fer instance, there is one in u,bi.s
Henry Garnett, knowing that he must die ,,,sA
sits listening to an inexorable clock u ' ,s-'
and ticks, counting off the seconds Of biy a' ~.
Finally IN futile desperation. he seizea tse
pendulum and stops it, but as he holds ~
metal bar, phantom pendulum behind i
swings on. Here is cinematography. Eera
complete expressiveness within pictnrarp
Again, another critic: "To nv utter an,.,.
ment, the story started with an idea and w.r.
on to develop that idea with logic and grsst
deal Of hunlor, and wound up as one Of tss
most forceful and direct pictures have evsr
seenv'
New-York tribune., 1922-07-30
Writing and ResUritIng
Makes the Professional

You can, however, be practically sure o.
cne thing. If your story has real and full
screen merit and you keep it going visiting
long enough it will stop coming back at last
In its place will come check. More writers
than one. by sticking eternally at it and refus'
ing to quit, have ultimately sold their produet
for it is the very act of writing and rewriting
that ultimately makes professional out OF an
amateur
One studio, ] know, receives approximately
hundred amateur scripts every week. very
large percentage of which are obviously BY
people who have never written line before'
Back of this is the fact that the motion PIC
ture is the medium of expression known .
thousands who never read anything except tne
newspapers. It comes into their drab lives as
an inspiration and they want to express them
selves
John B. Richie, of the Ince Studios, where
Hail the Woman" was produced has but little
encouragement TO offer the amateur as SUCH
Like Mr., Neilan he holds that as on amatsw
the wouid-be screen writer has but little chanss
OF success. He does not deny that an amateur
can become q professional, but he believes thai
the screen drama of the future will be writ
ten by trained experts familiar with the tech
meal workings Of the studio.
To-day, if an original story is accepted to-
the sake, perhaps, of possible effective ine'
Gent, says Mr.. Ritchie, sthat incident which
New-York tribune., 1922-07-30

amateurs a person familia,
with successful motion pic.
ture productions can pick o,,t
situation after situation and
name the picture that en-.
gested each to the wr;tor
New-York tribune., 1922-07-30

~ ONE ONE has said that
"a the United States is a
4 nation Of story writer's.
/ won't so quite so far
-. A. .m~-. 49, l..A Il f,n
Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1922-12-07
Baxter Calls Halt
Continued from Pace One)

proper size if it is maintained at high
efficiency.
In 1914 before the World War
we had 144S officers and men in the
Guard. ] took Office in January 1921
and at that time the Guard consist
ed OF 1919 officers and men. Today
we nave 222S officers and men, which
shows an increase during nv adj
mlnlstratlon of IS per cent. This
has been done by my orders since l
have been Commander in Chief.
TO show my interest in the Guard
have visited both encampments of
the infantry regiment and coast artil-
merry in 1921 and 1929. ana the en-
campment of the new field artillery
battery organic tons during the pres
ent year. BY act and deed / have
given my approval to the work these
young men are doing.
1.-THE increase in the number of com
panies also is interesting. When /
assumed Office in January. 1921, we
Rad is companies Of troops in Maine
and today we kave a total Of IS. 20 in
fantry. 10>coast artillery and five bat
teries of field artillery This shows an
increase under my administrative OF
ESQ in company units.
"Tnder the National Defense Act
The National Guard of a state is based
Upon the number of senator's and rep
resentatiyes that state has in Congress.
At present the maximum strength is