his respect by supplying them with the very best and most original
title you can devise for every story of yours which you are fortunate
enough to sell.

_4. Where to Look for Titles_

Good titles are everywhere--if you know how to find them. The Bible,
Shakespeare, all the poets, books and plays that you read, newspapers,
even advertisements on billboards and in street cars, all contain
either suggestions for titles or complete titles, waiting only to be
picked out and used. But be sure that someone else has not forestalled
you!

Sayings, proverbs, and well-known quotations are a fruitful source of
titles, as we have already intimated. But sometimes the real
significance and value of such a title are not apparent to a great
many of the spectators until they have witnessed the climax of the
picture. This arises from their ignorance of literature and is, of
course, their loss. Many good and extremely appropriate titles of this
character are taken from the Psalms, from Shakespeare, and other
poets. Frequently these quotations, used as titles, are so well known,
and their meanings so apparent, that almost every one of the
spectators will at once understand them, and catch at least the theme
or general drift of the story from the title. Sometimes, again, the
real significance of a title is best brought out by repeating it, or
even the complete quotation from which it is taken, in the form of a
leader at the point in the action where its significance cannot fail
to be impressed upon the spectators. For example, a certain Selig
release was entitled "Through Another Man's Eyes." Before the next to
the last scene, which showed the ne'er-do-well lover peering in at the
window, while his former friend bends over to kiss his wife--who might
have been the wife of the wayward young man, had he been made of
different stuff--the leader was introduced:

"How bitter a thing it is to look into happiness through
another man's eyes!"

--SHAKESPEARE, _As You Like It_.

5. _The Time to Choose a Title_

Notwithstanding that the title is the first in position on the
writer's script, as well as on the film as exhibited, it is frequently
the last thing decided upon. A writer may have his theme well in hand,
know every motive of every character, have settled to almost the
minutest detail just how his scenes are going to work out as they
unfold his story, yet, when he begins his first draft of the script,
he may not ha