Make each scene tell its own story, either by carrying the action of the whole a step further, or by giving an insight into the character of a person important in the story. For instance, instead of the bald statement, “John Jenks is a crusty old bachelor,” why not a scene showing Jenks in his home irascibly ordering his servants about?--let the audience see for itself the type of man he is. Have your scenes follow one another logically, but--here the printed insert shows its usefulness--don’t show uninteresting action that can be covered by a brief subtitle. For example, if your characters are at the seashore for one scene, and the next important bit of action occurs at the city home, instead of the uninteresting scenes showing the characters boarding a train, arriving in the city and so on, use a brief insert, “Back in the City,” and take up your action there. The insert saves a lot of uninteresting action that would only bore the audience, while on the other hand, if you were to switch your characters suddenly from the seashore to the city without a word of explanation the spectator would be mystified and in doubt as to just what was happening. Remember that the more principal characters you introduce in your story the more difficult you make it for the audience to follow the thread of the plot. Of course, you can have all the minor characters, such as servants, that you like, but have your story told by the actions of a few principals. This regard for simplicity should be followed in the manner of telling your story. “What subjects are in demand?” For the outside writer the market is always best for the shorter pictures, comedies or dramas running one, two, or three reels in length. Comedies of merit are in greatest demand, not because more comedies are produced--the reverse is actually the case--but because less good comedy is written. Follow the pictures that are being shown in the theaters if you would keep in definite touch with the studio demands, or else read one of the trade journals that give theater-owners advance information of the pictures that are to be produced. The trade journals will also be your guide when it comes to selling your photoplay. By reading the manufacturers’ advertisements there you will learn the type of picture each company is producing, and this is the first and most important lesson in the marketing of photoplays. Follow the players, and if you have a story especially suited to a certain player send it to his company first. The trade papers must also supply you with your list of addresses, for any roster printed in a book is certain to be out of date within a few months after the book is off the press.