A-B-C of motion pictures

by Robert E. Welsh

And now we come to the photoplay—the picture that tells a story by means of actors. “Where do the stories come from?” is one of the first questions asked by the layman, though the adapted plays and novels provide their own answer. But what of the ordinary picture stories that form the bulk of the offerings on the screen? Are they bought, like magazine stories, from writers who submit to all the magazines, or are they turned out by staff writers who provide all the stories needed by each company? How much do the companies pay for the stories? How can I enter this profession? The questions are innumerable. Let us answer them in turn.

The first motion-picture stories, following on the period of trick pictures and other simple scenes, when there was still some novelty in seeing pictures that moved, were concocted by the directors and players from day to day, and were usually of a very simple nature. But the producers were showmen enough to see that the public wanted even better stories, and each studio soon had its staff writer or two, usually former newspaper-men, who wrote all the stories required by the players. But the motion picture soon outgrew this period, the staffs of writers at the studios increased in size, and the call for stories from outside writers was heard. During the past few years an increasing number of the stories have been from the pens of outside writers, who send their wares to all the studios just as the ordinary author submits his manuscripts to the different publishers. The latest phase is the demand for the highest quality of stories by the purchase of play and novel rights for long pictures, and magazine short-story rights for the short films.

The staff writer continues, for the producing companies cannot rely on the outside writer, though thousands of stories are submitted each week. And even the stories accepted must usually be rewritten by the staff writer to suit the requirements of his company.

For many reasons the profession of photoplay-writing is not as rosy as one would be led to believe by some of the advertisements of correspondence schools. The prices paid for stories are not very high, though it can be said that they are steadily increasing, and the author of really good work has little difficulty in securing very good rates. From fifteen to fifty dollars may be paid for one-reel stories—that is, pictures that require about fifteen minutes to show. Longer stories are usually paid for at the same basis per reel, though here again the well-known author may demand his own price, or an exceptionally good idea bring a special reward.

Another fact that renders the writing of picture stories more profitable for the beginner as an avocation than a vocation, is the necessity of meeting unusually trying conditions. Like the magazines, the companies favor particular types, but a more binding rule is the necessity of securing stories that suit the requirements of the particular company’s players, or the locality in which the pictures are being staged at the time. There are a multitude of smaller circumstances that may weigh for or against the purchase of stories regardless of the question of merit. The staff writer knows these conditions, his stories are written while the iron is hot, and he is always ready when called upon.

Say to any photoplay editor or manufacturer, “Are you buying stories from the outside now?” and his reply is certain—it seldom changes. “We are—if we can get them,” he tells you. This does not mean that he is not receiving stories; there is scarcely a studio whose mail is not overloaded with manuscripts. Nor does it mean that the stories he accepts must be worthy of being placed on the screen at once as they are written, for the scenario editor takes it for granted that the scripts purchased will have to be rewritten. It is because over ninety per cent. of the stories received are absolutely impossible; one editor places the figure at ninety-eight per cent. In later chapters we will take up more fully the reasons which place these manuscripts in the “rejected” class.

It was their inability to secure a steady supply of good stories from the picture ranks that drove the producers to the magazine field. The entry of the well-known stage-player into pictures and the growth in popularity of the long photoplay caused the purchase of novels and plays. In addition to the large sums paid outright for these subjects the owner of the original rights usually receives a royalty on the earnings of the picture. Staff-men employed by the picture companies adapt the plays and novels to the form suitable for presentation by means of motion pictures.

The censoring of pictures is a subject of interest to those who aspire to write photoplays. In choosing his theme the amateur must remember that the manufacturer is not anxious to invest money in the production of a subject that will later have to lie idle on the shelf because it will not pass the censors. The most important censoring body, the National Board of Censorship, was established voluntarily by the manufacturers in co-operation with the People’s Institute of New York. The members of the board, who are appointed from various sociological organizations, serve without remuneration, the only paid employees being the secretaries. The expenses of the organization are borne by the manufacturers. The National Board has been of considerable benefit to the motion-picture industry, a fact largely due to the whole-hearted support of the manufacturers. A manufacturer cannot, of course, be compelled to submit his pictures for the approval of the board, but at present more than ninety-five per. cent. of the pictures shown in this country are viewed by its score or more of voluntary committees. The censors see the pictures at the New York offices of the producers, usually far enough in advance to permit of making any changes they may order before the pictures are distributed. In addition, state and municipal bodies have been established in many sections of the country. If you intend taking up photoplay work seriously, write the National Board of Censorship, 70 Fifth Avenue, New York City, for a pamphlet explaining its principles of judgment. It will be worth your while.

IV

STAGING A PICTURE