nique constructions. He woos immortality
not by his plots, but by his clever handling of words--his 'style'."
And then the editor goes on to say that the photodrama will become
great when it has developed its own great men. "The photoplay author
of fame," he says, "must be a specialist."

This also is true; but at the same time he must, as in any other
profession, first of all be a student. He must serve his
apprenticeship; and while he _is_ serving his apprenticeship he must
cultivate the imagination which M. Prevost declares to be so
essential.

Imagination cannot be developed by remaining in a rut. Experience is
not only the best teacher, but the very finest developer of thought,
and of a vivid and facile imagination. Thus constant practice causes
the building of plots to become a sort of second nature.

Granting that you have the technical skill to develop the plots you
evolve, the question which you have to answer is: What are the most
suitable themes for photoplays?

No one can give you such a list, though he may do what has been
attempted in another chapter--furnish a moderately full list of what
_not_ to choose as themes. Some general positive principles, however,
are important, and these are now to be considered.

_4. Write of What You Know_

The fact that the market is wide makes it the less excusable when a
writer courts rejection by attempting themes with which he is not
familiar. If you live on an Eastern or Middle-West farm, or in a small
town, remember that--especially between the months of May and
September--the film companies almost without exception are looking for
good stories of country life. Then why try to write stories of
business life in a large city, of society, of theatrical or circus
life, or even of the far West, until you have succeeded with a few
stories that might easily be set within a short distance of where you
live? Correct and faithful local color, at times, has much to do with
selling a story, though you always need a good idea and a clever plot.

The same rule, naturally, should be followed by the young writer whose
home is in a large city. If you can turn out a good, original story
truthfully portraying New York's East Side, Broadway, or Wall Street;
Chicago's "Loop" district; the social and political life of
Washington, or any other such background, there is an editor waiting
to purchase that story.

All this is _not_ to say that you must write only of things which are