Some successful writers have expressed dissatisfaction when editors have ventured to change the titles of their scripts after having accepted and paid for them.  Doubtless some of these objections have been not without reason.  Many editors and directors have, in the past, taken entirely too much upon themselves, in this and other respects taking liberties with the scripts received which, if known to the head of the firm, would have led to their being at least reprimanded.  But in such studios, the editors, and especially the directors, worked for days at a time without having once come in contact with the head of the firm; as a result, they all did pretty much as they liked.  During the last few months, however, changes have been made in every studio in the country, and at the present time the scripts that writers send in are not only handled much more carefully, but, if the title of a story is changed in the studio, there is usually a very good reason for so doing.

Let us suppose, for example, that a certain company (such as, at this writing, Goldwyn) is featuring women stars only.  A writer sends in an unusually good script entitled “Not Like Other Girls”—­which, by the way, is a well-known book-title.  At about the time that his script is received at the Goldwyn scenario department, the company decides to feature, in addition to its women, a certain male star.  This writer’s story, while one with a “woman lead,” is also one whose plot is capable of being worked over and slightly altered so as to provide a good vehicle for the leading man who has just been engaged.  On the strength of this fact, the company buys the author’s story without even informing him of their intention to make alterations in it—­or they may, of course, tell him of the contemplated alterations and request his help in recasting the story.  Not only is the action changed in different ways, but the title is sure to be altered to make it appropriate for a male leading character—­and all quite justifiably.

In this condition of affairs, by no means infrequent, the photoplaywright may find a strong reason for being familiar with the people composing a certain company, for the actual structure of the play as well as the title will influence its acceptance in some instances.  It is well to ask:  Are men or women featured in their pictures; or do they put out stories with a male and a female “lead” of equal strength?  Your story should be good enough to make it acceptable to any editor; yet, if you plan to send it first to a firm that features a woman in most of its pictures, as you have the opportunity of knowing if you study the pictures you see on the screen and read the trade-papers, do not write a story with a strong male “lead,” and do not give it a title that draws attention to the fact that the principal character is a man.

Remember, once again, that your title is the advertisement that draws the public into the theatre.  The title is to the public what the title combined with the synopsis is to the editor—­the all-important introduction to what is to follow.