In the photo-play profession it is novelty of the plot which brings success. The farther the author can get away from conventionality, the bigger will be the reward. This is where the average amateur shows deficiency. He is content to follow the footsteps of others. Again, many photo-play writers, instead of striving to be original, prefer to steal ideas from a novelist or short story writer. This work, needless to say, is sheer waste of time. The producer and his staff follow the periodicals and the publishing seasons very closely, so that it is easy for them to detect a stolen plot. Moreover, it must be remembered that to-day the leading producing firms have arrangements with authors, publishers and editors, for the exclusive use of their productions. These sources form a stand-by, as it were, to be brought into use when the fount of original scenarios dries up. When novels and magazine stories are to provide fare for the screen the producer entrusts the work of adaptation to one of his staff who has a more intimate idea of what is required, and will perform the task far more satisfactorily than the ordinary contributor.
The photo-play author has one great advantage over his colleague who writes for the stage. The latter has to supply dialogue, and often the success or failure of his work turns upon this factor. In writing for the screen dialogue is a lost quantity. It is action which is required, because the spectator has to follow the play from what he sees, and not from what he hears. Accordingly the requirements of action must be kept in mind. In the average studio the actor either extemporises dialogue to fit the part or situation, or else the producer prompts him.
It is true that one or two producers stipulate that the photo-play shall be written out in detail as if it were to be played behind the footlights, but such producers may be set down as incompetent or behind the times. A few years ago one of the Continental firms insisted that every play should be written out in full, but a few months' experience showed the folly of this procedure. Plays mounted in this manner lacked that grip and movement which is necessary in photographic pantomime. The audience could not retain the thread of the story, and the interest consequently flagged. The members of the company, being compelled to learn their lines, and to rehearse continually, went through their parts like puppets. Accordingly this method of mounting and acting has been abandoned in favour of the other in which the company, absolutely ignorant of the plot and story, is taken through it step by step and maintained at concert pitch throughout.
The writer should make a point of selecting a striking or catchy title for his work. Often when the plot itself is useless the producer will buy the manuscript merely to apply the title to some other production.
A word of warning may be given to the inexperienced photo-play author. Advertisements are freely inserted in the various periodicals offering to teach the art of writing plays for the cinematograph, and to submit the plots to the various producers in the manner of a literary agency. No matter how speciously and attractively the advertisements are written, the offers they contain should not be accepted. The author will do best to submit his work directly to the producer and to treat with him alone. The art cannot be taught by schools; it can only be acquired by experience. Nor does the agency possess more favourable opportunities for getting the work accepted than the writer himself, while the so-called expert who maintains that he can lick a plot into shape is merely a charlatan. If the plot is good, whether written by a raw or a highly trained hand, it will command its price, because the producer is no respecter of persons. Also, by treating directly, the author comes into touch with the producer, and often learns points and receives encouragement which cannot be transmitted through a middle man.
How is the work rewarded? This is a question which is often asked. So far as the British market is concerned the photo-play author receives scant encouragement. British enterprise has not risen to the level of that of the United States or the Continent. The British firms neither realise the value of a good plot nor the advantages of prompt and smart business methods. Here and there may be found a firm which is keenly alive to the value of the outside worker, but they are few and far between. On the other hand the American and Continental houses give an immediate decision, treat the outside contributor kindly, extend profitable words of advice if the work is promising, and pay promptly. A plot for which a British firm considers 10s. 0d. ($2.50) to be an adequate remuneration will realise $25 (£5) in the American market. The British producer will consider £1 ($5) to be a princely price for a good plot, and so long as this impression is retained the British photo-plays will remain inferior to their competitors. On the other hand, the American firms deal liberally with their authors, and are quite prepared to pay from $25 to $150—£5 to £30. Fortunately signs of awakening are becoming evident among the British firms. Good plots, like gold nuggets, are somewhat scarce, and one or two of the latest and most progressive establishments now pay up to £10 ($50).
Picture-play producers are finding greater and greater difficulty in obtaining first-class plots. The standard of excellence has been set so high, owing to the extremely critical character of the picture palace patron, that the highest work only now stands a chance of being accepted. The rivalry among the producers has become keen, because a strong picture-play can command a world-wide sale. One Italian firm, in the effort to forge ahead of its competitors, went so far as to offer a prize of £1,000 ($5,000) for the best scenario in open competition. It is admitted among the manufacturers that within the course of the next few years the royalty system must come into operation, so that the photo-play author will be elevated to the level of his confrère writing for the theatre.
In France a society has been founded for the protection of photo-play writers. This organisation protects its members by securing higher rates of payment, by introducing the work of beginners to the film-producers, and last, but not least, by advertising the writer.
Ten years ago the picture-play author was regarded with disdain, and was considered to be little more than an indifferent literary hack. To-day he is regarded as a powerful force. From the lowest and most ill-paid level he is rising to the highest rungs, where his rewards are excellent and his opportunities unbounded.