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Show fAMiWMSTOdlE iPAMS I Address all queries to tho Moving Plcturo Editor, care of this paper. Personal replies will be given only when stamped, self-addressed envelopes are Inclosed. RtJTH J. Crano Wilbur Is 5 feet 9 inches In helgh't, weighs 160 pounds, and has gray eyc3 and brown hair. His wife is Cella Santon, an actress, who has played with him In several Horsloy features. EM. Do not know of any actress named Bet- tje Camson. Blllio Burko may be addressed ad-dressed In care of the Triangle Film Corporation, Corpora-tion, 71 West Twenty-third street, N. Y. Alice Mann was "Lena" In Umburgers Victory. Ethel Toare was "Ethel," the flirt, in Ham. Tho Diver. Miss Teare Is with tho Kalom Company, 235 West Twenty-third sticot.N. Y. OLLLE Truo Bo.irdman was "Stlngaree" In tho Kalom series of that namo. Helon Gibson Is now tho "Holon" In Tho Hazards of Helen, and Helen Holmes Is tho girl In Tho Girl and the Game. Tho Iron Claw Is not finished fin-ished yet, and thero Is no telling how many chapters It will run. Sheldon Lewis Is again a villain in the serial. Anna Hold, Mary Reuben Reu-ben and Sidney Grant aro with Morosco-Fara-mount. Gladys Hanson Is with Essanay. Ruby Hoffman with Kleino. Louise Huff and Myrtlo Gonzales with Universal. Harry Morcy with Vltagraph. Virginia Pearson, Mary Martin and Richard NoUl with Fox. BB , FULTON, MO. You can reach Anita Stewart by writing to her In care of tho Vltagraph Company, Brooklyn, N. Y., and It would be much nicer to Inclose a quarter for a photograph than merely a stamped envelope. LUCY Henry Walthall Is now with Essanay at 1303 Argylo btrcet, Chicago, 111. Ho Is appearing in Tho Strango Caso of Mary Page, a serial now running In local theaters. Plbi(D)ftpEay Airnwif IT Is very ovident from tho number of letters that reach this department, that many wrltors consider tho tcchnlquo of their plays of moro Importance than tho plots. Tho plot la tho first, last and only thing that ovor sells a play. The development and technique help, of course, but they nro of no valuo whatever without the plot. Many writers aro deeply concerned about how many scenes, how many words to UBe, the length of tho synopsis, and not a single question ques-tion about their plots. Tho studios might buy u play with a good plot to It whether tho play conforms to tho rulos of tcchnlquo or not, but tho most finished product, from a technical standpoint, would not soli If theio was no story connected with It. MS. H. If you wrlto a play and use tho plot from a story you have road In a book or magazine, you must get the uutlior'a and the publisher's consent, unless It Is a story on which tho copyright has expired, or a story that has nevor been copyilghtcd. You cannot chango it around and use It as long as the plot in the story Is tho property of the first writer There Is very llttlo chance of selling plays made from magazine stories. Wrltors must think up their own plots. If thoy cannot do this, thoy are not writers. Magazine stories are used for pictures, but tho producers prefer jto makoarrangoment wltb, the publishers, and have them mado Into seen- , ario form in tho studio, because they know Just H what they want, what kind of actora they havo ; I and all about It something you cannot know. H Your question, "Is It hard to get into photo- ; . H playing?" can bo answered In one word. Yes. H It Is very hard to get a place In any of tho : : H studios, unless you have had experience, and ' I even then you might have to wait a long time - B and play extra parts In many plays befoio you .H can make any headway. H All of the studios have long waiting lists of H people who havo had experience on the rogular ' H stage. Of courso, thero is always room for j ; I exceptional ability, tho samo as In any calling. , I It is not absolutely necessary that you bo able I to rldo and swim, but the ability to do thoso ' I things help. To bo able to act Is tho prime , I requisite. If you can do that and can get a , i' I chance to show that you can do It, the othor ' I things would not matter, and you might get a ; B place, providing, always, that there was a va- fl cancy. But slnco there are many rogular stago , H players and many regular movlng-plcturo play- i I crs who would like to get work and cannot, tho 1 ' I chances aro not very good. Do not pay money B to any ono claiming to havo influence or to bo ' I able to get you in. H L WANTS to know how deeply Into detail j H she must go In writing a play. Plays re- m B quire more detail at somo points than at pthors, E and only the wrltor can Judge this. Mako tho ; : K story plain. If John passes through a room ! K meiely to got to tho street, llttlo detail Is 'K needed, but if ho sees a plcturo on the wall in t B passing that makes him think of a girl h j : B loved In tho long ago, you must havo John " B stop and look at tho picture, and perhaps have ; B a vision of the girl, and a lot of dotail would - B bo necessary. Or he may be on his way to - ' B lunch, and ho takes a picture of a girl out of - B his pocket and compares It with the ono on tho B wall; thero Is detail of a dlfforcnt character. '. B You will have to use your own Judgment. ) B You have tho story, your mind evolves sltua- B tlons and actions that tho characters go j B through to develop the story; go Into detail ; - B to as great a length as Is necessary to maka ; ! B tho story clear and convincing. Whero you ' B can handle a scene with llttlo detail, do so; B thero is nothing that will win you favor in tho B studios so quickly as to make your work pro- ixB fcsslonal In these points. T B Prices vary. Two reels should bring $30 from V B ono or tho better class of studios, perhap II moro Jf th$ gtory. good, nnq nog., - v- V '' w |