At the outstart you must admit to yourself that to see every release of every company is impossible, and even if it were possible it would be unnecessary.  In the big cities, for example, it is often difficult to locate a theatre that is exhibiting the particular picture you are anxious to see, either on the date of its release or later.  Nothing is more common in a moving picture studio than to hear one actor say to another:  “Tonight such and such a theatre is showing such and such a picture [one in which they have worked]; let’s go over to see it.”  And if the actor is anxious to study acting through watching the work of himself and others on the screen, how much more should the writer be willing and anxious to study the technique of the photoplay by paying frequent visits to the picture theatres?  Try, then, to see as many photoplays as your time and means will permit, for purposes of study.  Nor do we recommend seeing only pictures that the critics have praised, for it is possible, at times, to learn as much from a poor picture as from a good one.  You must teach yourself, as you watch the screen, what to leave out, as well as what to put in; we may learn much from the mistakes of others.

One point especially worthy of notice is that when you see a good picture on the screen it may be one written by a successful photoplaywright, and as such likely to repay close study to see how the successful construct their stories.  Or it may be a picture written in the producing studio from the bare idea purchased from an “outsider.”  In either case, look out for and carefully study the pictured stories produced by writers who are “putting them over.”

If you are taking up photoplay writing as a profession, or even as an avocation, there is only one way to undertake it—­be fully equipped to succeed.  It is not enough, as we said in an early chapter, to have had previous training as a fiction writer; nor enough to have acquired a knowledge of photoplay form and construction.  You must be “up to the minute” in your knowledge of the market for scripts.  Therefore be in touch with what writers, editors, and producers are doing.  Do everything in your power to avoid writing stories similar to others that have been done within the past year or two, at least.  It is not merely a question of plagiarism, important as that is—­it is a matter of helping yourself to sell your script by not offering old ideas to the editors.  Fully one-half of the good stories that go back to the authors are returned because the companies have already done a similar picture and do not wish to have exhibitors and their patrons declare that “The Cosmopolitan Company must be writing over their old pictures because they can’t get new stuff.”

2.  What to Look for in a Picture