For markets such as this, the fact that a synopsis only
is usually called for is a real benefit to the writer, saving him much
time and disappointment in the event of non-acceptance.
Another thing that experienced writers know is that certain of the
larger producers of slap-stick comedy are not in the market for
outside material. After being deluged with all kinds of "comedy"
stories for years, the Keystone Company finally found it necessary to
announce that nothing could be considered from free-lance writers, on
account of the peculiar nature of the comedies produced by them and
the necessity of having them written by inside writers who were
familiar with the studio, its players, and the surrounding possible
locations.
Thus, in its way, the market for comedy scripts or synopses is more or
less limited, and yet there is, as has been said, a good demand for
first-class humorous stories for the screen. One important rule to
keep in mind is that they should be, in every case, just as long as,
_but no longer than_, the idea that is back of them. You must never
pad a comedy plot, or even a comedy idea; to do so is fatal to the
attainment of artistically perfect results, if not to its acceptance
by the editor.
In writing dramatic stories, on the other hand, more freedom is
allowed.
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