The first motion-picture stories, following on the period of trick pictures and other simple scenes, when there was still some novelty in seeing pictures that moved, were concocted by the directors and players from day to day, and were usually of a very simple nature. But the producers were showmen enough to see that the public wanted even better stories, and each studio soon had its staff writer or two, usually former newspaper-men, who wrote all the stories required by the players. But the motion picture soon outgrew this period, the staffs of writers at the studios increased in size, and the call for stories from outside writers was heard. During the past few years an increasing number of the stories have been from the pens of outside writers, who send their wares to all the studios just as the ordinary author submits his manuscripts to the different publishers. The latest phase is the demand for the highest quality of stories by the purchase of play and novel rights for long pictures, and magazine short-story rights for the short films. The staff writer continues, for the producing companies cannot rely on the outside writer, though thousands of stories are submitted each week. And even the stories accepted must usually be rewritten by the staff writer to suit the requirements of his company. For many reasons the profession of photoplay-writing is not as rosy as one would be led to believe by some of the advertisements of correspondence schools. The prices paid for stories are not very high, though it can be said that they are steadily increasing, and the author of really good work has little difficulty in securing very good rates. From fifteen to fifty dollars may be paid for one-reel stories--that is, pictures that require about fifteen minutes to show. Longer stories are usually paid for at the same basis per reel, though here again the well-known author may demand his own price, or an exceptionally good idea bring a special reward. Another fact that renders the writing of picture stories more profitable for the beginner as an avocation than a vocation, is the necessity of meeting unusually trying conditions. Like the magazines, the companies favor particular types, but a more binding rule is the necessity of securing stories that suit the requirements of the particular company’s players, or the locality in which the pictures are being staged at the time. There are a multitude of smaller circumstances that may weigh for or against the purchase of stories regardless of the question of merit. The staff writer knows these conditions, his stories are written while the iron is hot, and he is always ready when called upon.