Say to any photoplay editor or manufacturer, “Are you buying stories from the outside now?” and his reply is certain--it seldom changes. “We are--if we can get them,” he tells you. This does not mean that he is not receiving stories; there is scarcely a studio whose mail is not overloaded with manuscripts. Nor does it mean that the stories he accepts must be worthy of being placed on the screen at once as they are written, for the scenario editor takes it for granted that the scripts purchased will have to be rewritten. It is because over ninety per cent. of the stories received are absolutely impossible; one editor places the figure at ninety-eight per cent. In later chapters we will take up more fully the reasons which place these manuscripts in the “rejected” class. It was their inability to secure a steady supply of good stories from the picture ranks that drove the producers to the magazine field. The entry of the well-known stage-player into pictures and the growth in popularity of the long photoplay caused the purchase of novels and plays. In addition to the large sums paid outright for these subjects the owner of the original rights usually receives a royalty on the earnings of the picture. Staff-men employed by the picture companies adapt the plays and novels to the form suitable for presentation by means of motion pictures. The censoring of pictures is a subject of interest to those who aspire to write photoplays. In choosing his theme the amateur must remember that the manufacturer is not anxious to invest money in the production of a subject that will later have to lie idle on the shelf because it will not pass the censors. The most important censoring body, the National Board of Censorship, was established voluntarily by the manufacturers in co-operation with the People’s Institute of New York. The members of the board, who are appointed from various sociological organizations, serve without remuneration, the only paid employees being the secretaries. The expenses of the organization are borne by the manufacturers. The National Board has been of considerable benefit to the motion-picture industry, a fact largely due to the whole-hearted support of the manufacturers. A manufacturer cannot, of course, be compelled to submit his pictures for the approval of the board, but at present more than ninety-five per. cent. of the pictures shown in this country are viewed by its score or more of voluntary committees. The censors see the pictures at the New York offices of the producers, usually far enough in advance to permit of making any changes they may order before the pictures are distributed. In addition, state and municipal bodies have been established in many sections of the country. If you intend taking up photoplay work seriously, write the National Board of Censorship, 70 Fifth Avenue, New York City, for a pamphlet explaining its principles of judgment. It will be worth your while. IV STAGING A PICTURE