(m) Do not offer “parts” with your manuscript. A “part” consists of the speeches and business indicated for one character, written out in full, with the cues given by the other characters—­the whole bound so as to form a handy copy for the actor to study.  For instance, there would be four “parts” in a four-people playlet manuscript—­therefore you would be offering a producer five manuscripts in all, and the bulk of your material might deter a busy man from reading it carefully.  If your manuscript progresses in its sale to the point where parts are desired, the producer will take care of this detail for you.  And until you have made a sale, it is a waste of money to have parts made.

2.  The Stage Door the Vaudeville Market-Place

Unlike nearly every other specialized business, there is a market in each city of the country for vaudeville material.  This market is the stage door of the vaudeville theatre.  While it would be unlikely that a dramatist would find a market for a long play at the “legitimate” stage door—­although this has happened—­there are peculiar reasons why the stage door may be your market-place.  A large percentage of vaudeville performers are the owners of their own acts.  They buy the material, produce it themselves, and play in it themselves.  And they are ever on the lookout for new material.

Not only is there a market at the stage door, but that market changes continually.  Without fear of exaggeration it may be said that with the weekly and sometimes semi-weekly changes of the bill in each house, there will in time flow past the stage door nearly all the acts which later appear in vaudeville.

Offering a manuscript at the stage door, however, should not be done without preparation.  As you would not rush up to a business man on the street or spring at him when he emerges from his office door, you certainly would not care to give a vaudeville performer the impression that you were lying in wait for him.

(a) The personal introduction is a distinct advantage in any business, therefore it would be an advantage for you to secure, if possible, a personal introduction to the performer.  However, you must be as discriminating in choosing the person to make that introduction as you would were you selecting an endorser at a bank.  A stage-hand or an usher is likely to do you more harm than good.  The “mash notes” they may have carried “back stage” would discount their value for you.  The manager of the theatre, however, might arrange an introduction that would be of value.  At least he can find out for you if the performer is in the market at the time.

(b) The preliminary letter is never amiss, therefore it would seem advisable to write to the performer for whom you feel sure you have an act that will fit.  Make the letter short.  Simply ask him if he is in the market for material, state that you have an act that you would like him to read, and close by requesting an appointment at his convenience.