Photoplay Magazine Cover — page 115: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

PHotToPLAY MAGAZINE—ADVERTISING SECTION A Close-Up of the Scenario Editor By ROSE GLEASON Former Scenario Reader for the Norma and Coustance Talmadge Film Compantes so often ask for criticism of their photoplays—and seldom get it—this rticle hopes to get in touch. Its object is ) introduce them to the scenario editor, a ersonaze, whom I don’t doubt, many of acm have wondered about. First off, though I want to ask you, Why it that the average photoplay dramatist, hen entrusting his mental offspring to the arc of Uncle Sam, invariably summons up frightful vision of a malignant ozre who is yentuatly to pass on its merits? With few ceptions, it seems to me, writers figura- vely see the scenario editor seated at his esk, their brain child at the mercy of judg- ent, crude and ruthless, whereas—if the uth were known— Well, far be it from me to spring the sob 4iff, but if you had the line on the scenario fitor that I have, you'd know that more kely than not the poor grub, instead of try- g to bring about the literary infant's emise, is really analyzing the child with the ope of making a man of it. Following this littl prelude, it seems to sc that no better time could be found to ttroduce the editor than while he’s reading letter which has come to him enclosed in manuscript, The letter tells him this: are those eager screen devotees who lear Editor: You will please find enclosed, a story ¢n- tled, “The Kiss That Enthralled,’ in 4765 ‘ords. Criticism will be appreciated in case ou decide you can't use this. Very truly yours, E. J. Jones. Despite its highly colored title, the scenario jitor to whom the above mentioned ‘script sent, turns the pages of it. They bear parks Of many crasures and the type is so legible that he must, perforce, take the uthor’s word for it that there are 4765 rords. Somewhere, perhaps, within it is a lot; if so it would take a better reader 2an he to discover it. Mr, Jones gets his ‘script back. He has ot enclosed return postage, but a two cent amp will carry it to the given address. Another Ietter says: bear Sir: Ten days ago I sent you my manuscript alled “Love With Honor.” I shall expect decision and criticism by return mail as believe I have a right to expect square reatment on this.. | Respectfully, R. K, Brown, P. S. I have heard all about the way enario departments steal plots. If you try mh with me, don't think you can get away rith it. “Mr. Brown's story goes into its return en- elope. It is not even read. You will conclude, no doubt, that an editor ecelves the foregoing Ietters only from il- terate or unthinking writers. Judging from he first, of course, that fact is very evident, ut many similar to the second epistle come o editorial desks from the better class of yriters, who, if not firmly established au- re, are, none the less, men and women vho should be capable of thinking sensibly. Su also — while we're glancing ppose rough the editor's mail—that we read the | kind of letter a disappointed author, who has received his ‘Script back, very often writes: Dear Sir: My manuscript has been returned to me with only a rejection slip enclosed, Nat- urally, I am disappointed, It seems the least you could bave done was to have given your reason for rejecting it. I shall not bother to cend you any more. Yours very truly, And 30 it goes. When a scenario editor first undertakes his (or her) job, he answers these calls for criticism, Very painstakingly, and with in- finite sympathy he reads every seript, and then dictates a letter telling the author what's the matter with it. The result is— what? A regular correspondence, which—if he were to keep it up—would occupy all his time. One of the writers whose work he gives a written criticism on, thanks him most heartily and is honestly appreciative. Another ac- knowledges the receipt of his letter and prom- ises to do better next time. A third i& quite certain the editor couldn't have read his— or her—manuscript very carefully or he wouldn't have written what he had about it. A fourth regrets that the critic 50 completely mizunderstood the thought she intended to convey, and states she would not be averse to calling at the studio personally to en- lighten the editor on a subject he has utterly failed to grasp, Incidentally, she mentions that while dis- cussing this particular story with him, she } | has a good stock of others she would be! willing to talk over. All this, while the editor’s deck is piled high with stories which he must pass on, and which, if not attended to promptly will bring a flood of complaining Ictters to him. The fact that he has also to review books and plays and other material which literary agents send in, as well as to dig up old classics some director wants to get a line on, tx one that has never, I'm certain, entered the average writer's head, Nor does it seem to matter to the literary public, that, be- sides keeping in touch with everything that | is published, an editor's real job is to find good stories for the producer whose check he receives every Saturday. All of which is to say that if you don’t get a criticism from the editor to whom you have sent your ‘script, such a fact indicates that either he basn’t any particular reason for giving one, or that he hasn’t the time. It may also indicate that some unpleasant experience in the past has prejudiced him against such a policy, You wouldn’t beliceve—would you—that editors have decidedly unpleasant experiences with unsolicited manuscripts which come to their desks? Well, they do. These manu- scripts are sent by mail—brought in by the author, himself-—-or come through the hands of unreliable agents. Beeause of such experiences, editors must avoid setting down on paper well intentioned statements, which may go to some unknown literary crook who sces in them a double meaning that some shyster lawyer will be able to construe favorably for him. At feast one such exptrience fell to the lot of an editor I know, (Concluded on page 116) When you write to adrertisers please mention MUOTOPLAY MAGAZINE, Its The Hair Must Be Wound —but Not Wounded To achieve the rippling waves which make the hair lovely, abundant and easy to dress, stern measures are not required, Never subject the sensitive strands to heat or the sharp, cruel edges of old- fashioned curlers, Hair waving is very safe and simple when the new Curlox Perfected Curlers are employed. (The curling bar is correctly curved to pre- vent the slightest harm to the hair.) CURLO TRADE MARK REG.US PAT.OFF. 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