Argosy All-Story Weekly, August 9, 1924 — page 129: what you’re looking at

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

TOO CLOSE TO HOME. “Fair enough,” said Sheila evenly. ““What’s his proposition?” ‘Why to sell the work of scenario writ- ers, all over the country—put it in proper form, and submit it to the producers,” ‘“T see,” nodded Sheila. “In addition, he gets out a r-0- thly bul- letin, keeping clients informed ci. prize con- tests, and so forth.” ‘““ What are the terms, Taffy?” Taffy fidgeted. Somehow, with Sheila’s clear eyes upon him, the terms did sound a little preposterous. “ Forty-seven fifty for putting one story in shape, and guaran- teeing to submit it to ten producers, and for a hundred they get this service, the monthly bulletin, and our complete course in scenario writing, thrown in.” “Do you give any blue granite stew- pans, or enlarged crayon portraits, as pre- miums?”’ asked Sheila, her eyes dancing. ‘No kidding, this is really a good course —on the square it is, honey!—you don’t deny that scenario writing can be taught by mail, do you?” ‘No, I don’t,” admitted Sheila, ‘“ but I do deny that producers buy stories from any such sources. And what’s more, you know it as well as I do. You and 1 have been pegging away for years, trying to sell scenarios. What’s the result? We can’t even get ’em read/ We are both writers of some ability—at least, we both make a liv- ing by it. If we can’t get a look-in, what chance do these poor amateurs stand?” “At least they stand a better chance then they would if their work weren’t put in proper form. Every man, woman and child in the United States believes that he, she or it, can write a good movie. They’re bound to fall for somebody, sooner or later. Why not us?” “Why not, indeed?” said Sheila. “T tell you,” enthused Taffy, pounding his pipe on the table, “it’s just too good a game to stay out of! Why, Stockton’s profits on a single month, would just make your eyes bulge out!” “My eyes bulge easily,” said Sheila. “ In fact, they even protrude slightly at the sight of a five-dollar bill. Only—don’t be mad, honey—I like it to be an honest five- dollar bill.” 279 ‘This is honest,’ maintained Taffy stoutly ; “ at least as honest as most busi- ness is nowadays. Maybe we’ll unearth a genius, who knows?”’ 3 Sheila’s head drooped. “I’m awfully tired, dear,”’ she said, “so I think maybe we'd better talk it out some other time. What was it you wanted me to do for you?” ‘“Oh yes,” said Taffy, reaching for his overcoat; ‘‘I wanted to leave these folders and come-on letters from the Kansas City office, and have you write some just like ’em, for us to use here. See?” he unfolded ia blue sheet. ‘“‘‘ Beginner at Sixty Writes Three Plays,’ ‘ Servant Girl Sells Comedy.’ You can write ’em better than I can. Don’t do it unless you want to, though.” “Sure,” said Sheila listlessly; “‘ Ill write them. Take me to lunch to-morrow, and T’ll have them for you.” “ Atta girl!” crowed Taffy, giving her an impulsive hug. ‘“ I knew I could depend on you!” IV. Promptly at twelve-thirty the next day Taffy rode up in the elevator of a down town office building, got off at the eleventh floor, sauntered through the impressive out- er rooms of the Markham Advertising Agen- cy, with the nonchalance of a privileged character, and opened the door marked ‘‘ Miss Kildare.” The office was empty, but on the massive mahogany table lay a long manilla envelope, marked in Sheila’s round childish writing: ‘‘ For Mr. Thurston.” ‘Good little scout,” said Taffy to him- self. ‘‘ She always keeps her word.” He opened the envelope with a pleased smile, which vanished at the second line of Sheila’s neatly typed manuscript. WRITE SCENARIOS FOR MOVING PICTURES! EASY—PAINLESS—SURE. Thousands are doing it. Why not YOU? NO EXPERIENCE REQUIRED. No literary ability necessary. In fact, it is a positive detriment. CAN YOU READ, WRITE, THINK? If you cannot, it will make no difference, but if you can, it will enable you to grasp GOMIIGIOO cS (C@) nn