The Selig Company maintains a large menagerie, as does also the Universal Company; and a script in which caged animals are used might be accepted by them.  Even a story requiring animals that were unconfined might “get by;” but it would be advisable, in either case, first to try to find out whether the director who would take such a picture considered the story worth while writing.  That is, we think the photoplaywright would do well—­although no such suggestion has been offered by either company—­to send a short synopsis of the story he intends to write, showing just how the animals would be made use of.  We have no doubt that the editor would let you know if he considered the idea a good one; and if he did, you could complete your script or detailed synopsis.  It would be understood, of course, that his approving your idea would in no way guarantee the acceptance of your script.  But of one thing you might be sure:  if your idea were not purchased, it would not be used at all, as every reputable company pays for everything they use.

5.  Child Actors

What applies to animals applies equally to child actors:  it is always best, before submitting a story in which a child plays an important part, to be reasonably certain that the company has such a juvenile player, or that they can procure a child with the necessary ability to perform the part.  Several concerns have as members of their stock companies child actors of marked ability.  In some studios, however, the director finds it necessary to “send out” for clever children of whom he may know—­sometimes the child has acted under his direction before; sometimes he has heard the reports from directors of other companies—­and if there is doubt in the director’s mind that the child can handle the part, your story may be rejected as a result.

6.  Costume Plays

In the chapter on “What You Should Write” we discuss the question of writing historical dramas, which come under the head of costume plays.  It should be said here that, merely as an economical consideration, you should always avoid sending scripts calling for special—­and therefore expensive—­costuming to any company unless you know that they are in the habit of producing plays of that nature.  By studying the pictures you see on the screen you can easily learn what companies go in for costume or historical plays; such companies are always glad to receive really strong and interesting stories of this character from outside writers.

7.  Lighting

We have already touched upon the use of special lighting arrangements in special scenes, but it is well to say again that it is best to let the director decide how a scene shall be lighted.  He will consider the matter from the standpoint of practicability and expense; you are very likely to think only of the effect.  Don’t be too ready to write scenes calling for verandas hung with electric lights in supposed night scenes, Japanese lanterns at garden parties, unique moonlight effects, and similar things that will make for expense—­even if they are practicable.