Photoplay Magazine Cover — page 93: what you’re looking at

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

Ignorance (Concluded from page 92) Same scene. They stop dancing. Title: The crimson night fades into the dawn. Scene 22. An office in Wall Street. Ignor- nee is seen at a desk, working busily. He "t know that the Big City calls, not or honest and brave hearts, but for souls ruin, Title: And here the underpaid workers up the wealth that the rich man spends freely at night on chorus girls, cabarets | hat check boys. - Closcup of clock registering the hour of We. Scene 23. Ignorance arises from his desk Sid looks for his hat, which has been stolen. The Big City comes from his private office. With him is a thin gentleman evi- dently suffering from malnutrition. The Big City speaks: _ Title: (Spoken) “Mect Pay Envctope, take m out but don’t lose him.” Scene 24. Ignorance and Pay Envelope leave the building together. Scene 25. A joint in Chinatown. Ignor- ance and Pay Envelope are sitting at the Same table cating chicken chow mein. The more they eat, the thinner grows Pay En- velope. Seated around them are murderers, thieves, wife beaters, gun men and broken blossoms. In other words, lots of atmos- phere, Scene 26, Another table. Fake Oil Stock i: selling engraved paper to two Chinamen. One Chinaman speaks: - Title: (Spoken) ‘Me allee likes rich Rockefeller water.” > Scene 27. Fake Oil Stock secs Ignorance with Pay Envelope and approaches, They talk. Pay Envelope becomet transparent. Ignorance takes the pretty papers and says: _ Title: (Spoken) “I’m on my way to riches. The treat's on me.” Scene 28. Ignorance puts his last nickel into the tin-pan piano. Pay Envelope dis- appears and Jazz takes his place. Ignor- is welcomes Jazz. The Flapper enters, t, seeing Ignorance without Pay En- velope, she snubs him. And then— Closeup of Censorship cutting coupons with her scissors. Scene 20. Ienorance looks a bit gone. Jazz slaps him on the back: - Title: (Spoken) “Come, come. Iggy. I il bring to you Near Beer and perhaps he will take you to his cousin Home Brew.” Scene 30. Near Beer approaches. He has no legs and therefore no kick. ITgnor- ance still look= worried. Chinese proprietor presents him with check. He looks around or Pay Fnvelone and finds that he has dezerted him. Jazz and Near Beer also leave, The Chinaman winks at a low lock- ing tough who is lurking in the background. Scene 31. YFenorance meets Rouch-Stuff and gets thrown down stairs. Title: Out, out into the night. Scene 32, A park bench. Ignorance has a revolver pressed to his temple. Censorship enters. Title: (Spoken) “Ignorance, have you for- ten that the dicplay of firearms is for- deen?” Scene 33. Censorship cuts revolver with er scissors. Tgnorance rises and speaks: _ Title: (Spoken) “TI cannot do without you, cannot look life and the Biz Citv in the ce, I cannot stand Jazr and Near Beer.” Scene 34, They embrace according to the irements of the best censor boards. ensorship speaks: Title: (Spoken) “Ignorance, you are my nd my friend, You are my natural in marriage, of course.” Title Jes into scene of the Big City roasting in mache Hell. same PHOTOPLAY MsAGAZINE—ADVERTISING SECTION |e Short Cut to Successful Writing By DELLA THOMPSON LUTES Eutior of To Days Housen ile’ author ofel Soldier of the Dusk and other books I was nearly thirty before I bad @ story printed In the meantime I had written o great many things, but pobody wanted them. ! dicin’t know how to write the things E wanted to write, nor what to do with them if I did. There didn’t seem to be any way to got auch information, cither, since one couldn't go to college Then a Sundsy newspaper printed two. starics ami this was encouragement, Years went by, hawnver, three of them, perhaps four, before T got anything more in pont. I wrote and wrote and | WAS asixtocn when my first poem was printed wrote. I sent things out and faithfully they cane back tome. Always with rejection slips, asd never with any mivice. J couldn't get any advice I couldn't gct any holp. Finally, however, my stories were good enough by sheer persisteney sod strugelt, so that the magazines begnn to accept them, One went to the Delineator, one to Geed Housckeeping, the Designer, the Ladtes’ Warld, the Ladies’ Home Journal, and others, Bot always I had to cut and prunc and rewrite ufter he story was necepted, heenuse didn’t know hew to do it in the first place. I had some- thing to soy that they were willing to pay for, but Tedidn't know how to say it. It took mo ten years, and more, to learn what E could have learned in one ot lees U I had had such an Easy System of Writing aa came to my dak the other day, Ten sears aml more, and the loss af thowsni< of dollars for what I could hare lenrned in six months at a cot of n few dollars if I had hod ® chance! A meet astonishing ssser- tion was recently mode by by one of the highest paid writers in the world. He anid, “ Millions of people ean write stories aod photoplays and don't &mow uf.” I know frotm my own ex- perionce that almost every person loner at times to ex- press birnself in writing but darsn't know how, I have het thousands of letters from poople saying. “Oh, I wish T could write. UE know 1 oould tell n story or write a good artiels if 1 knew how.” There t& @ technique to story or play writing just as there is to piano playing or paiiting. Hf you hui that technique you could certainly express yourself better than you can withe out it, and you miglit fod Qiat you have an ability to do sumuthing that before you huve only thought of vagocly as a wish. Every beart hes its own story. E-very life bas expericnoes that are worth posing on. The man who clerked in « store last yseur is making toore money this year with his pen than he would have made in the store in a life time. The young woman who earned cighteen dollurs a week last summer at stenograpby sold a story Inet week for one lonidred dollars, The woman who wrote the serml stary which i pow running in Todays Housewife hadn't thoucht of writing 4 story until about five years aco—diin't know for sure she eould write a story. Now her name appears almoat every month in the leading maguzines, A worn of ower filly cater into my office ane day last week to see me about a stotcy we recently bought from her. Ten years amo she had never written a word. Within the best six tuonths she has sokl ten ateries to tracing mngezines averaging over 2 hundred dollara each, Yow dent Ravw whether wie can write or not wriil you fry Once there was « tradition that writing was a ‘sift’ miraculously placed in the hands of the chosen few. We still believe in etnius, and not everyone oan be an O. Henry or a Stevenson, but the great majority of writers who are turning out the storms and photoplnys of to-day, for whieli thou- sands and Gane of dollars are being pal, are mot geniuees They are simply people who have teen ftauzht how to tell = atory aml who then look about them and get a story to toll, _ There are just as many storics of human interest richt in your own vicinity, stories for which same ectitor will poy oot money, as thete are in New York City of unywhere else. Magnzine editors are hungry for good staries, They will weleome a story from you just as quickly as from any well-known writor if your story is good enough. And they vill pay you well for it, too. Big money i» pol for storie aml eceonarios today —u good bit bigger tones than is being paid in salarics. There iso tremendous demond for writers—writers of atories, of articles, of pliotoplays. Money is being spent like water by maguaine publishing heusee and, DELLA THOMPSON LUTES photoplay compaziice Big sume of maney And names da nol coust—wuntil they have dene aome- thine sood. This uw the word I want to leave with you have suid to yourself, “I wh 1 could wrte,"' of “IEE only knew low to do it, I believe I coukd write,” nr if you have plot« for stories, idows for artioles, or if screen pictures come to you and you don’t know how te put them in marketable form, don't be discowrapad and think, “Oh, what's the we of try trying! I don't know how." And don't met theides that all great writera were born knowing how to write, Almost without exeeption they heave strugpeled ta the top through yeurs of bitter work nnd waiting. They dil not have the help that hea at your hand The Authors” Pree of Auburn, N. Y., bes, to my mind, selved the problem for the would-be writer They Bave pecpared an Essex Syater of Woiting that is so comprehensive and xo simple that it covers every poant of the principle and tech- nique of short-story writing and photopliy writing, and yet 4 so Clearly and pleasantly oritten thet the perusal af it is an inep- ration and o delight. lf you at once This New System is tre- mendously inspirational [ have read it three titnes te be nbsolutely sure it m@ what I should want to recommend to the hundreds of writer who oak me for help. Ench time | rend it Tam so fitlec with enthusisem thot I want to run away from the edito- rial desk an write 2 story or n scennrio. It is good reod- ing even for the person who emt filled with the detire to write, for it tolls how it & done. A atudy of the Now Method of Writing will belp anyone to think better and to express hinwelf more foree- full> in conversation or whit- tog than he otherwine could. I om glid to have the oppor- tunity to renommend to all writers the inapirational, helyr ful. and most reasonably preeed System of Writing subliched by The Autbor'’ ‘ress of Auburn, N. Y, The New Syetem of Writ- mg recommended by Mes. Lutes—and also endorsed by raany more of Arcrien's fore meat magazines, editors, pub- likhors, ancl nuthors-ia fully described in a wonderful FREE book enJled The Wander Book for Writers.” This amazing book shows how enaily stories and plays are conceived, written, perfected, sold, How many who don't even drame they can write, seddenly find it out. 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