Hardly. The best proof of the opportunity that is held out to the
capable outside writer, new or old, is that the staff-writers, whose
duty it _should be_ to make adaptations of plays and novels and write
the scenario, or continuity, for stories bought from free-lance
writers in synopsis form, are kept pretty busy writing so-called
"original stories" for certain stars, or stories that may be "done" in
certain parts of the country at a particular season of the year. If
enough thoroughly good stories could be purchased on the outside,
staff writers would never be called upon to write stories to order;
only what might be called "inspired" stories would be accepted from
them. Furthermore, if plenty of good, original stories, written
directly for screen presentation, could be purchased by the editors,
the practice of making screen adaptations of popular novels and stage
plays would be cut down by more than half.

"Suppose that the staff writer suddenly gets the 'flash'--the
inspiration needed to write a Western story with a plot that is
infinitely bigger and more dramatic than anything that he has done in
a great many months. Thinking it over, he gradually becomes brimful of
the theme and its plot-possibilities. He wants to feed the paper into
his trusty typewriter and start pounding out the scenario before a
single bit of the suddenly inspired plot can get away from him. But he
cannot; his company does not make Western stories; nor does it permit
its staff writers to sell their work to other firms. Even if it did,
he is far too busy to give the time to the writing of a story not
intended for the use of his own particular studio.

"So the inspired story has to be laid aside, possibly to be worked
upon some time in the future, when he has severed his connection with