The novel or magazine story that has been printed, the play that has been produced, have already received the benediction of investment. And I am a good-hearted wench so I read all their stories, at the risk of some day being called a plagiarist, and I find in nine cases out of ten that they haven’t an idea that is suitable for a screen original any more than the Antigone of Sophocles would be a story for Jimmie Dean.Īn original, in order to catch the jaded fancy of editorial boards and producers, must be a whole lot better as story material than the novel, magazine story or play they would buy without half so much deliberation. Since I have had some luck and a lot of pleasant publicity, I have been pestered with requests that I collaborate, help or reveal the secret that will enable the others to share my good fortune. Not all that I write by any means, but three out of six, and considering the amount of work in an original as compared with the work in a play or a book or short story, the percentage represents a very good way for a writer to make a living, particularly if he wants a lot of spare time for his writing.Ī lot of people think that the writing and selling of originals, but particularly the selling, requires a secret almost as precious as the secret of the alchemist’s stone. In spite of all of this, I notice that originals continue to sell, to be made into good pictures and make money for the companies. Nearly all of my friends have taken me aside at some time or other and warned me, “Don’t write originals.” Even studio editors who had telephoned the day before and wanted stories in twenty-two minutes for Janet Caynor, Marlene Dietrich and Rudy Vallee, have become confidential over the third highball and whispered, “Because you’re a good sport, I’ll give you the lowdown. I have been warned more often against the dangers of writing movie originals than I have against the pit falls of drink, dope and loose living. On March 19, 1934, The Hollywood Reporter published a special issue devoted to screenwriting, featuring the voices of industry notables on trade topics such as “Should Writers Produce?,” mulling censorship (“Sense or Censors”) and discussing the craft of writing for the big screen. Author Vera Caspary, who had published several novels by this time and had seen stories adapted for film, tackled a pressing question: should writers devote time to original stories to pitch to studios? Caspary’s full guest column is below:

Vera caspary