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The essay offers an empirical study of 514 unique amateur scenarios submitted to the production office of Cecil B. DeMille in 1922 and 1923. It examines the stated goals and content of these works and couples them to the extensive editorial review process undertaken by DeMille’s staff. Summarized broadly, the study concludes that film fans of the 1920s were far more thoughtful and aware of the ‘successful’ film scenario. While their motivations were mixed, most expressed a desire to ‘say something’ about their experiences with modernization rather than advocate for ‘traditional’ tales from literature or the Bible. These new ideas – mostly from female writers – were taken seriously by DeMille’s staff, who invested many hours reading and responding to their works. Their correspondence reveals the fine line dividing timely and popular modern melodramas – animated by rapidly shifting social norms – and the imperatives of self-censorship just then descending upon the industry. The study finds that the demise of this practice, by 1925, harmed the classical studio system and its efforts to produce popular and meaningful original films.

Ready for their close-up: fan scenarists, Cecil B. DeMille, and the studio system