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.

Finally, economy should always be the guide followed by the author in
writing his