The third section, from Chapter XIII to the end, takes up the details of instruction and information in such a way as to supplement the main points before discussed—­minor yet really important points which are sure to be of value to the photoplaywright in his work of turning out a script that will need little or no changing on the part of the director or the staff-writer.

1.  Importance of the Title

Nearly everything that has been written on the subject of titles for novels and short-stories applies quite as much to titles for “regular” plays and the photodrama.  No photoplaywright who is earnest in his desire to turn out only the best and most original work should neglect to read thoroughly the chapter on “The Title” in each available book in the list of works on the writing of the short-story in Appendix A, at the end of this work.  Do not be satisfied with what has been written specially for writers of the photoplay; go deeper; study what has been written for fiction writers and dramatists, and so equip yourself thoroughly.  We should like to write at the beginning and end of every chapter of this book this reminder:  Only those who are thoroughly equipped will be able to remain in the ranks of photoplaywrights when once the various manufacturers have drawn out enough competent writers to keep them supplied with scripts.  There will always be room for the competent writer, but a competent writer he must be.  And as one element in competency this matter of the title is important, vitally important, when it comes to selling your script.

2.  General Functions of the Title

“The title has for its main function the advertising of the story to the public."[8] Is not this, even if there were no other, a sufficient reason for making your title as attractive, interesting and appropriate as you possibly can?  True, there are thousands of picture-play patrons who go to their favorite theatre night after night, prepared to see anything that may be shown for their entertainment.  But there are also thousands who are not regular attendants.  Many go only when attracted by the title of a picture based on some well-known book, poem, or play.  A great many more are guided in their selection of moving-picture entertainment by the attractiveness of the titles displayed on the posters and banners announcing the regular daily programs.  As a means of attracting all such, the advertising value of the title is important.

[Footnote 8:  Evelyn May Albright, The Short Story.]

“A good title,” Barrett has said[9] “is apt [appropriate, fitting], specific [concerning itself with, and narrowed down to, something individual enough to grip the attention], attractive [interesting and calculated to inspire attention], new [fresh and unhackneyed], and short.”  The bracketed comments, of course, are ours.

[Footnote 9:  Charles Raymond Barrett, Short Story Writing.]