What's a one-sheet?

Really, they're all right. There's not ONE definition. In the context of film, it's a poster (not necessarily mock) that's printed on a single sheet of paper. Larger posters would come on several sheets, to be assembled at the theater.

Words and phrases often have multiple meanings in different trades. Consider horse: aside from the domestic animal, it can be a gymnastic device, a carpentry device, a form for constructing a curved ship's timber, a mass of rock enclosed in a lode of vein, a chess-piece, or heroin.

Plot Device said:

I've been surfing the net and coming up with so many varying definitions. Some have photos, some don't. Some are mock movie posters. Some are plot synopses. I'm finding no agreement at all on the definition of a one-sheet.

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In Hollywoodland, everything is defined by who's asking for it. Are you talking about a "one-sheet" for a screenplay? For a television series? Or what?

We use "one-page" at my company but, depending on whether it's for a feature or a television series, it might be also called a "sell-piece", a "one-sheet" or a "pitch-page".

Whichever it is, it really needs to be just one page. This all came about in years past when execs wouldn't physically touch the page presented at a pre-sale story meeting. It was an assistant's job to place the page on the table so that they could read it but not touch it. There was some legal thing about them picking it up, or "taking possession" of it... but since then the one page has evolved into a convenient way of presenting material. No one wants to sit in a meeting and try to read multiple pages.

So, if it's a screenplay:

Logline
Synopsis

Depending on who wants it, you might need to put in a location breakdown, preliminary budget estimate, and note any attachments, such as actors or a director.

If it's a TV series:

The Concept
The Series (which is a lot like a synopsis)
Episodes (I always list the first 6)

Depending on who wants it, you might need to identify the audience and/or list your credits.

The best way to give the requestor exactly what they want is to ask for an example from them... then shape yours to what they are looking for.

Of course, if it's for a film, then, yes, some advertising art, like a poster, would apply.

Hope that helps.

It's funny - in the poster business we typically use it as a description of the official poster for a film. Take a look here from the site I administrate:

http://posterland.dk/index.php?sID=sogresultat&searchtext=one%20sheet&batchsize=48&page=1

I haven't named the posters myself - they come from the companies I buy them from.

it's the ONE sheet that you want to represent your script. so basically it's up to you what you want/need that to be.

it's the ONE (and only as opposed to your entire script) sheet that they'll accept... usually handed to them after a verbal pitch.

if you have the technology to do a poster (like a book cover) on one side then by all means do it. the poster side is probably best used for animated, action, some comedies, and horror flicks. the other side should be your written pitch or synopsis with contact information.

It's basically a glorified query letter. Definitely keep it simple. Hook, logline, synopsis. Anything with crazy graphics or photos isn't taken very seriously and will either be thrown away or hung up and snickered at. Back in my interning days, an agency I worked for received a one-sheet (I won't say the title) that was basically a fake movie poster that featured a young boy and girl and an elephant staring out over a cliff --- their backsides facing us. I'm guessing it was supposed to be poignant, but we hung that thing up in the office and called it the elephant butt one-sheet for months.

And no, the script was not requested.

zagoraz said:

It's basically a glorified query letter. Definitely keep it simple. Hook, logline, synopsis. Anything with crazy graphics or photos isn't taken very seriously and will either be thrown away or hung up and snickered at.

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That's what I always heard it consisted of. I haven't used one since '03 and I'm about to go to a pitchfest. Have one-sheets changed much in recent years? Are different things now expected? Are they even used anymore? Not sure what else to leave people after I stalk... I mean pitch them.

Plot Device said:

I've been surfing the net and coming up with so many varying definitions. Some have photos, some don't. Some are mock movie posters. Some are plot synopses. I'm finding no agreement at all on the definition of a one-sheet.

Anyone?

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There is two types of one-sheets (as you've found with your search, and in the replies you've gotten); there is a one-sheet (synopsis) and a one-sheet (movie poster).

If you have a copy of The Screenwriter's Bible, it has several references to both one-sheet movie posters and one-sheet synopsis, and are listed as separate items in the index.

The one-sheet that you're referring to is probably some kind of document that offers your script's logline, brief synopsis and contact info. Some include an image and other incidentals.

One-sheets are a part of the fringe screenwriting industry more than the professional arena. For instance, at a pitchmart, where an "exec" hears scores of pitches in an hour or so, many writers leave behind a one-sheet as a reminder of the pitch and contact info.

In the professional arena, I've never been in a situation where a writer has left behind a one-sheet. That doesn't mean it hasn't happened. It's just not as prominent in the world of pros as it is the world of amateurs.

I think it's an important distinction.

Well said, Mr. L. At this point, it's like we're all amateurs...except those of us who aren't.

I've also heard it can be a listing of loglines - this is if you've got a lot. I'm registering/copyrighting #6 and have 8 in total on my "official" one. Can this work?

I can agree with creativexec to an extent. The only time that I've ever given a one-sheet was when a producer requested it.

And What I did with it because it was for a TV series, I went with:

The Concept
Series synopsis
Script synopsis

I did two different synopsis because the script was different structurally from an episode and wanted to give a short description of why we did it the way we did it.

Mario, I would advise against a one-sheet filled with loglines for your available screenplays. I suggest this is as a strategy; there is no right or wrong here. I think it's always smart to lead with the strongest project in your possession. You want your presentation to feel like it's one-of-a-kind.

A list of loglines always has a "garage sale" mentality to it - as if you're trying to clean out the attic. Furthermore, it doesn't look good that as a writer you have all these available screenplays. A writer might think he appears prolific, while an executive or producer might interpret it as, "Jeez, I guess this guy hasn't been able to sell anything."

Hocking just one script (preferably your latest and the best) could open doors to someone asking, "What else have you got?"

If an exec or producer says, "I'm looking for a script in this genre...and this vein...." and you happen to have that kind of script - one you wrote five years ago - you say, "I'm just finishing up one that I think you'll like, I'll send it to you by the end of the week." Then go home, update all cultural references along with the draft date and send it to him as if it's a brand new script hot off the printer.

So much of this business is perception. Execs, reps and producers want to work with hot writers who have hot scripts. Never make it seem like you or your scripts have been on ice for a long time.

Good advice, thanks!