There is absolutely no way of knowing what company will be most likely to buy a so-called costume play.  If you honestly believe that you have the material for an unusual story calling for settings or costumes of other days—­or even of our own day but of foreign lands—­go ahead and write a comprehensive synopsis of it.  If you send it to a company which asks for synopses only, you will be playing safe whether it interests them or not.  If, on the other hand, you plan to submit it to a concern which likes to pass on a full script, with both synopsis and scenario, you can send in the synopsis alone and explain that if they are at all interested in that, you will submit the continuity of action.

As might be expected, stories of this kind are usually written in the studio, because the staff-writer has the opportunity of finding out just when and where the picture can be made, what types of male and female players will be able to take part in it, and what special effects he may include.  Still, to repeat, many of the bars against costume plays and stories calling for foreign and other hard-to-get settings have been taken down in the last year or two; but the demand for only strong, interesting stories is more insistent than ever, and you must still observe the rule—­which, it may be added, will never change—­of acquiring a thorough knowledge of the different markets if you wish to sell your stuff regularly and to the best advantage.

Themes!  They are everywhere.  The pathetic, the tragic, the humorous—­countless admirable photoplays are to be drawn from these sources.  And the most encouraging thought is this:  Given the same basic idea for a plot, no two people will work it out in exactly the same way.  Individuality will make a difference.  “Happiness,” as Mr. Floyd Hamilton Hazard has said, “does not always mean the same thing to everybody.  It means many different things to different people.  It is a theme upon which many varied tunes can be played.”

In conclusion, we quote and warmly endorse this advice from Mr. Herbert Hoagland, censor of photoplays for Pathe Freres.

“Select for your theme an idea which embodies good things.  Avoid anything coarse or suggestive.  Make your stories clean, wholesome, happy—­a dainty love story, a romantic adventure, a deed gloriously accomplished, a lesson well learned, an act of charity repaid—­anything of a dramatic nature which is as honest as daylight.  Good deeds are just as dramatic as wicked deeds, and clean comedy is far and away more humorous than coarseness.  Keep away from scenes of brutality, degeneracy, idiocy or anything which may bring a poignant pang of sorrow to some one of the millions of people who will see your story in the pictures, unless the pang will be one of remorse for a bad deed done or a good deed left undone.  In a word, help the film-makers produce films which will help those who see them, and make the whole world a little better for your work.”