Besides avoiding the similar use of ideas that have been utilized by others, it is most important in watching a picture to be able to see what the one who wrote it did not see—­to be able to pick up an idea that he might have employed in working out his story, and from it get the inspiration and plot-foundation for a photoplay of your own.  In addition to studying the action to see how certain effects are produced, count the number of scenes and the number of leaders used in the different makes of pictures.  It will serve as a guide to what the different makers want.  In case you do not care to sit through a second showing of the film, or do not want to risk missing part of the picture by counting the scenes and leaders, make a practice of carrying a few small cards, with a line drawn down the middle of each.  As the card is held in the hand, mark with a pencil a short stroke on one side for every change of scene, and on the other side a stroke for each leader, letter, or other insert—­this will serve as a convenient record-device.

3.  The Note-Book Habit

To have the plot-instinct is a great blessing for the writer.  Lacking this, however, the most valuable asset he can possess is the note-book habit.  Carry one with you constantly.  Jot down everything that may be of help in framing and developing a plot, as well as in creating a dramatic scene for a story.  Remember that plots are not lying around fully developed, awaiting only some observant eye to discover them, but they almost always grow out of single ideas—­plot-germs—­which one may recognize as incidents and situations in everyday life or in unusual circumstances.  Do not wait for the fully developed plot to come to you, for the chances are that it will not.  Jot down the single idea and in time it may germinate and become a fully developed plot—­even though you may have to use hot-house methods and force its growth.

[Illustration:  William S. Hart, Leaning on the Camera, with part of His Supporting Company and the Cameraman and His Assistant in a Scene from “The Poppy Girl’s Husband,” an Artcraft Picture]

[Illustration:  Harry Beaumont Directing Fight Scene Between Tom Moore, Goldwyn Star, and the Villain, in “A Man and His Money”]

It seems incredible that any writer, knowing, as he must, that the idea, the plot-germ, is what really makes the story, should neglect to note it down the moment it comes to him; and yet there are those who simply trust memory to retain an impression.  In the photoplay especially “the idea’s the thing” for here you cannot depend on description or on good writing to sell your story.