This may have been discussed, but I didn't notice such a topic.
Do any of you write a treatment prior to composing the script? If so why?
Do any of you write a treatment prior to composing the script? If so why?
Treatments
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Yes. To see whether the story's going to work before I spend weeks trying to write 110 pages that don't work.
I put all kinds of goofy stuff into the treatment, twisted jokes, obscene dialogue, tasteless language, anything that's going to keep my interest levels high when the time comes to start writing the screenplay. Needless to say, if I had to submit the treatment anywhere then I'd clean it up first. A little.
But using a treatment is a personal choice. Some writers do, some don't. If it helps, write it.
-Derek
Derek's Web Page - stories, screenplays, novels, insanity.
I put all kinds of goofy stuff into the treatment, twisted jokes, obscene dialogue, tasteless language, anything that's going to keep my interest levels high when the time comes to start writing the screenplay. Needless to say, if I had to submit the treatment anywhere then I'd clean it up first. A little.
But using a treatment is a personal choice. Some writers do, some don't. If it helps, write it.
-Derek
Derek's Web Page - stories, screenplays, novels, insanity.
A treatment can be a great resource, especially when you get to the first draft writing stage. Without one, if you're stumped, you don't have any kind of structure to fall back on. You just kind of trudge ahead blindly with whatever's in your head. A treatment really helps focus on where the story is going. Once your framework is up, you can really go anywhere you want in the story and always have it to fall back on/guide you through to the end. Just my thoughts.
Whereabouts in Texas are ya? I'm near Dallas.
Whereabouts in Texas are ya? I'm near Dallas.
Thank you. I've tried both ways and seemed to confuse myself in both cases!
Z.
I'm in beautiful San Antonio! I won't get into the Spur's thing.
Z.
I'm in beautiful San Antonio! I won't get into the Spur's thing.
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I rarely write treatments. I either think a long time on my story, build it in my head and then write out a first draft, or I just sit down and start writing, for the most part.
I have been giving more thoughts to treatments for those scripts I stall on within the first thirty pages. It usually means my story wasn't well thought out enough and rather than junk it and toss it aside, I figure, what the hell, work it out.
I have been giving more thoughts to treatments for those scripts I stall on within the first thirty pages. It usually means my story wasn't well thought out enough and rather than junk it and toss it aside, I figure, what the hell, work it out.
I'm too impatient to do a treatment. Instead I start out with a basic outline.
Some things I have done
-Title
-Logline(Doesn't have to be 100 percent perfect a mediocre one in the beginning will give an idea what the story is about)
-Who is your main characters and what are they like and who is the story told by.
-What is the beginning
-What is the catalyst
-What is the Big Event
-What is the pinch
-What is the climax
-What is the showdown
-What is the ending
Thats all you need to start it off. Once you get going then you can start outlining for each scene such as like the next 5 or 10 scenes or maybe ones lateron in the story if some great scene ideas come to you. You dont ever need to oultine every scene before starting if you have the big event climax etc and KNOW your characters. if you know your characters and know the key moments why should you have to ouline the whole story in great detail. Its a waste of time, especially since when you revise it down the road you might delete some of it anyways.
Some things I have done
-Title
-Logline(Doesn't have to be 100 percent perfect a mediocre one in the beginning will give an idea what the story is about)
-Who is your main characters and what are they like and who is the story told by.
-What is the beginning
-What is the catalyst
-What is the Big Event
-What is the pinch
-What is the climax
-What is the showdown
-What is the ending
Thats all you need to start it off. Once you get going then you can start outlining for each scene such as like the next 5 or 10 scenes or maybe ones lateron in the story if some great scene ideas come to you. You dont ever need to oultine every scene before starting if you have the big event climax etc and KNOW your characters. if you know your characters and know the key moments why should you have to ouline the whole story in great detail. Its a waste of time, especially since when you revise it down the road you might delete some of it anyways.
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I usualy don't write treatments in preparation for writing a script-- sort of.
I do write a treatment (or 2-3 page synopsis) for projects I want to save for a later date or just don't have time to do because I am working on something else. I have about 1 script for every 3 treatments. Currently I have a library of several dozen treatments to be able to pitch at a moments notice. That I think is important in an industry that frequently says "No, but what else you got?"
I do write a treatment (or 2-3 page synopsis) for projects I want to save for a later date or just don't have time to do because I am working on something else. I have about 1 script for every 3 treatments. Currently I have a library of several dozen treatments to be able to pitch at a moments notice. That I think is important in an industry that frequently says "No, but what else you got?"
Joe Calabrese said:
A producer in a interview said never to mention you have a treatment to a producer in the pitching meetings. He said you can't sell a treatment, only like one was sold all of last year.
So he said keep it all verbal. I'm guessing your hoping they will give you a development deal off your treatment or do you just keep it to remind you howthe story goes in preparation for your pitch?
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Both actually. Although I generally use treatments as a framework for future projects, there have been a few instances in which a producer's interest in a pitch forced me to send a treatment. In most cases, a script was requested and as such that project went to the front of the pile and written out as a script.GonnaBeFamous said:
This is not the norm and as you said treatments alone very rarely sell, but used as a barometer of gauging interest you can determine which projects to do quickly.
What's a treatment, again?
In the midst of all my pre-script R&D, i probably do write a treatment without really intending to. I know the story will work, because I've got a loose mental idea for how it'll all flow, but sometimes I'll go ahead and write the movie out in prose just so I'm not absolutely winging it when I'm working in Final Draft.
In the midst of all my pre-script R&D, i probably do write a treatment without really intending to. I know the story will work, because I've got a loose mental idea for how it'll all flow, but sometimes I'll go ahead and write the movie out in prose just so I'm not absolutely winging it when I'm working in Final Draft.
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Here's the text book explanation.
If a screenplay focuses the story for a film, the treatment does the same thing for a screenplay. A treatment could be considered a written pitch; something that catches the buyers attention and makes then want to see more.
There are several key elements that make a treatment good and worth reading. The first is keeping it relatively brief. Generally, a treatment will range anywhere from one to twenty-five or more pages, depending on the kind of treatment it is and its purpose. The three most common kinds of treatments are Original dramatic treatments, treatments of true stories and Adaptation treatments. Another key is to keep the treatment user-friendly and straightforward.*
One big difference between treatments and screenplays is that treatments are written in paragraph form where as screenplays have a very technical format. Keep the language simple yet forceful and declarative. The purpose of the treatment is to describe the events of the story so that it can be visualized and brought to life. This should be done using the least amount of words possible.
If a screenplay focuses the story for a film, the treatment does the same thing for a screenplay. A treatment could be considered a written pitch; something that catches the buyers attention and makes then want to see more.
There are several key elements that make a treatment good and worth reading. The first is keeping it relatively brief. Generally, a treatment will range anywhere from one to twenty-five or more pages, depending on the kind of treatment it is and its purpose. The three most common kinds of treatments are Original dramatic treatments, treatments of true stories and Adaptation treatments. Another key is to keep the treatment user-friendly and straightforward.*
One big difference between treatments and screenplays is that treatments are written in paragraph form where as screenplays have a very technical format. Keep the language simple yet forceful and declarative. The purpose of the treatment is to describe the events of the story so that it can be visualized and brought to life. This should be done using the least amount of words possible.
Joe Calabrese said:
Then the producer might lose interest in the project or not like your script when you write it. I guess you really have to put yourself out on a wing ...
The script never follows the script. If you write a treatment before you write the script, you might as well throw the treatment away post script. It will change during the writing process.
I outline pre script. I only write a treatment if I get asked for one after I send a query.
The only constant seems to be the logline and synopsis, and the synopsis will change alot of times during the writing of the script. But that happens when the whole freakin story changes while you're writing the script.
For me, it works best when I get a concep. Kick it around in my head for a few days, write down keywords, JOT down an outline, then pop a disc in and type "FADE IN". Post script I write the logline, synopsis and treatment.
I carefully pick my target for a query. If I am asked to send a treatment, I'll usually tweak my treatment on disc to adjust it for my targets eyes. If they ask for the first 30 pages of the script with the treatment, i say no way. It's all or nothing.
I outline pre script. I only write a treatment if I get asked for one after I send a query.
The only constant seems to be the logline and synopsis, and the synopsis will change alot of times during the writing of the script. But that happens when the whole freakin story changes while you're writing the script.
For me, it works best when I get a concep. Kick it around in my head for a few days, write down keywords, JOT down an outline, then pop a disc in and type "FADE IN". Post script I write the logline, synopsis and treatment.
I carefully pick my target for a query. If I am asked to send a treatment, I'll usually tweak my treatment on disc to adjust it for my targets eyes. If they ask for the first 30 pages of the script with the treatment, i say no way. It's all or nothing.
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I think treating the original idea is a crucial part of writing the actual novel or screenplay.
I think you do good to write the tag, treat the idea and then write the story. Contrary to many other authors, I don't waste time on character outlines. However, I enjoy cutting out pictures from magazines of people that look like they could be the characters in my book/screenplay.
I think you do good to write the tag, treat the idea and then write the story. Contrary to many other authors, I don't waste time on character outlines. However, I enjoy cutting out pictures from magazines of people that look like they could be the characters in my book/screenplay.
Can someone help me out with the specific way to write an outline? And could you please post a small of example of one so I can better understand? Thanks
The ImagiNation said:
I gave the skeleton of a basic outline of most dramas and comedies. Anything more is just fluff to fill in the key parts.
The ImagiNation said:
Make it simple, forget everything you had to trudge through in school and outlines. I hated those! I suggest a more working outline. Think of an outline as a roadmap of your story. How you write the map is up to you, make it simple. If you know your entire story, or just parts, just write down the key elements. If you can do a where and who and such and a brief scene description.
This is how I outline.
Kids plays at park, explosion near by rocks neighborhood
Investigators show up, not sure the cause, finds piece of evidence.
One terrorist caught, mumbles about life and death and a seat of power before killing himself.
Mark, one of the investigators, believes its more symbolic and starts studying.
Investigation grows cold case pulled
Mark believes that there is more attacks on the way, but no one listens.
Mark meets Sally. She is an expert and is able to help him decipher some clues
Mark discovers symbolism to be on the building where president is to address the nation.
Mark is cut out of the protection and has to find another way in
Mark uses Sally to help find blueprints of building.
Mark sneaks in and finds bombs
Speech begins
Mark runs to warn others, terrorists intercept and tie him by the bombs and leave him
Sally had followed Mark, comes and cuts him free.
Mark and Sally run to the top and start warning people.
President escorted out, bombs explode, many people are caught.
Mark and Sally chase down terrorists
Anyway you get the idea. You can add in as much information as you have/want. The point is it is your map use it however you want and in whatever format you want. If you are one of those people who need numbers and such then go with it. I am a very informal outliner.
Sara
l.stormgaye said:
Then you've never written a comedy, cause you need it for those. Both of my comedies use extreme personality types that are unique(sometimes the central character can be normal just everyone else is nuts LOL ).
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