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Referring to our correspondence with reference to the motion picture production of my books, I beg to say that I have a letter from Micheaux Film Corporation,1 538 South Dearborn Street, Chicago, in which they make me a proposition to produce "The House Behind the Cedars."2 Of course they want to chop it up more or less, and probably change the class of people from whom they get most of their patronage and to whom they must make their appeal, namely, colored people, since the producers themselves are of that class. But from what I have observed this is no more than the usual fate of a novel which is filmed, and one could only hope that it will be done with reasonable taste and judgment. I have seen one of the films produced by this company, and it was n't at all bad.3
They make me the following proposition:-4
"Having sought now to make it clear as to changes that I would reserve the right to make in the event of an agreement, I am prepared and have concluded to purchase the film rights to this novel with a view to producing it if nothing happens to change my present plans, starting about the latter May or early June. If, therefore, you are agreeable to accepting such changes as I may see fit to incorporate and which are only to make the story more acceptable to a peculiar clientele, I am willing to pay for all screen rights the sum of $500.00 payable, a portion down on acceptance say $25.00, $75.00 in thirty days thereafter or say March 1st, the balance June 15th, Page 2 or on date of release should it be filmed and released before that time which is not likely, since I have two other pictures to make before I reach this.5 And, besides, it is necessary to film this in the summer as you will realize. In the event of agreement the present title will be retained and the photoplay from same approximating most likely seven reels long would be advertised about so 'Oscar Micheaux presents "The House Behind the Cedars" a story of the South by Charles W. Chesnutt, featuring Evelyn Preer.'"6
I know nothing from experience about moving picture productions or authors' royalties in connection therewith, and this does not seem like a very large remuneration. However, I don't suppose the concern itself is making a great deal of money, in fact, I do not see how it could, yet if they pay according to their stated terms, it will be that much better than nothing, and I really don't know whether a film could be made from the story which would appeal to a wider audience; at least no concern has been clamoring for the right to reproduce it.7
If this proposition is agreeable to you I will write to Mr. Micheaux accepting it. I imagine that these things are sometimes done on a royalty basis, but the accounting for and collection of royalties is a somewhat uncertain thing, since the author necessarily, in small matters, must be entirely at the mercy of the producer.
If the arrangement is made, or whatever arrangement is made, I will account to you on the basis suggested in your letter of August 12, 1920, that is to say, one-third to you and two-thirds to myself.8
Yours very truly,Correspondent: William Brace Pratt (1886–1961) was a White Bostonian who graduated from Yale in 1906. He worked for Houghton Mifflin's Special Sales department from 1907 to 1929; as the manager of the syndicate bureau, he frequently correspondended with Chesnutt about the film rights to his works in the 1920s.