Can you guys give me some advice? - TV episode treatments/format

[Christine N.]

Okay here's the deal. I need to write a treatment for a single one hour TV episode. So I guess it's really more like 42 minutes.

I have no idea how to do it. I mean, I have an example, I get how it needs to be done. It's kind of like a synopsis. I don't yet have a plot for the episode, it's still stewing in my head. There are certain elements that need to be in there, I know what they are.

I guess what I'm asking is if any of you use any type of forumla/method/outline type to sort of structure your episode to make sure it all fits in the time allotted.

Any suggestions? Thanks. I don't have to write a script, just the treatment.

[RylenolFlu]

There really is no formula in writing a treatment. The treatment is your story in paragraph form so I would suggest you flesh out your story before you begin writing your treatment. Perhaps, in writing the treatment, you will begin seeing where the parts of your story connect. With television writing you most always want to have that "hook" that sets the episode into motion. Take an episode of ER for example, you have a little bit of setup but then a patient is rushed in and Benson relates to him/her and makes that patient his priority for the remainder of the episode. In Always Sunny In Philadelphia, the Invincible episode, the main characters are enticed to tryout for the Philadelphia Eagles team, the entire episode is based on there wanting to make the team.

[RylenolFlu]

typically, tv writing does not require treatments, step outllnes are more common

[Plot Device]

Straczynski's method (outlined in his book "The Complete Book of Scriptwriting") is to take a sheet of legal note paper and divide it into four quadrants. Each quadrant is the four fifteen minutes of an hour. He then scribbles bullet points for the key moments of tension and plot twists for all four acts in the appropriate quadrants.

From there you can draft a formal document of maybe four paragraphs, one for each quadrant, where you write out in a very dry synopsis style the details of what is happenig in each quadrant.

[Christine N.]

Thanks Plot Device! That's what I was looking for, a way to divide up the story. I mean, when I write a book I make it as long as it wants to be. Can't do that with TV. Very helplful.

Now, next question - do TV episodes follow the typical three act formula? Rising action, conflict, climax/denoument?

[Plot Device]

I never wrote for TV, but from what I've read they do a 4-Act stucture for the sake of the commercials.


Here's my general understandig:

1) teaser opener
2) openig credits and commercial break
3) inital plot intro
4) the hunt begins
5) startling discovery
6) commercial break
7) more hunting and developments
9) red herring
10) another startling discovery
11) commercial break
12) serious breakthrough
13) formidable obstacles (such as powerful person deliberately blocking them)
14) efforts to overcome obstacles
15) cliffhanger
16) commercial break
17) the "big reveal"
18) chase/climax
19) denoument
20) closing credits and commercials


Anyone is free to correct me. And if someone has a link to a more precise nbreakdown, by all means offer one.

[Christine N.]

Another amazingly helpful post! Thanks bunches! Hopefully once I put this short story to bed and get past the holidays I can run through this beast.

[Dustry Joe]

It's a little more complicated than that. TV shows can be half hour, hour, even two hour. Which changes the number of acts. Some shows use a little "byte" before the show called a teaser, some use a little shot afterwards, called a "tag". (The final bit of "Frazier" with action and no dialog and title song over, for instance) The use and length of these varies from show to show.

Acts decrease in length as the show goes on, so act 5 would be shorter than act 1...obviously once they've got you hooked they can spring more commercials.

It's hard to just characterize the shape of a TV plot, because drama and comedy work different, as to different types of shows. (Obviously Friends has a different dramatic shape than Highlander or The Shield) But one thing really worth noting is that the overall plot arc is not just chopped into quarters or fifths or whatever: each segment must end on the kind of beat that makes an end before the commercial, and ideally is a sort of laugh or cliffhanger to get people to stay tuned.

It's an itsy sort of crafting, but probably easier to write because of that: the more forumula, the easier to fill in the blanks is a general rule in writing.

It's a lot harder to get TV scripts and formats than screenplays, but one thing I'd suggest is checking in on the forum at tvwriter.com

[Dustry Joe]

This might be helpful:

Screenplay vs. Teleplay -- How Hard Could it Be?

By Emmett Loverde--a playwright and screenwriter from Los Angeles.

Introduction

Everyone's telling you that funny scene you wrote is perfect for "Friends". No one can shut up about your skit for the church's holiday fair -- what a great movie that would make! You had a staged reading of your "Just Shoot Me" spec and everybody cried (oops)... maybe it's too serious for TV. All you need to know now is... How is television script format different from movie script format?

The good news is good drama tends to be pretty mobile -- equally at home on silver or electronic screen. The bad news is that each medium has its own production requirements and, thus, its own specific script format. "Format, shmormat. A script is a script!" Agreed. But would you try to build a supermarket using the blueprints for a hospital?

Film

The theatrical motion picture is a descendent of the circus sideshow, the novelty act. The emphasis has always been on spectacle rather than drama. The scripts for the earliest filmed spectacles (if a script was even used at all) consisted mainly of description -- and no dialogue. Audiences soon demanded stories to go along with the spectacle. Stories required scripts-even when the film contained little or no dialogue. The script format for today's (sound) films reflects the emphasis that silent films placed on pictures rather than dialogue. Paragraphs containing scenic and action descriptions have very small margins while dialogue has ridiculously wide margins. The message is clear: in a film, pictures are more important than words.

Television

Modern television is a cousin of film, but TV descended from radio. Nearly every type of program on TV today -- news, sports, sitcoms, dramas, talk shows, etc. -- originated on radio, not the big screen. And radio is all about sound. TV script format reflects its talky radio origins: dialogue is double-spaced for legibility; stage directions are formatted in all capital letters to make them easily distinguishable from dialogue; the pages contain lots of white space for jotting notes.

Types of Film Scripts

There is really only one type of theatrical screenplay format. The variations within the format are minor: margins, use of "MORE" and "CONTINUED" (or not), etc. As a script nears the filming stage, it may include specific camera angles, scene numbering, omitted dialogue notations, etc., but it's still quite recognizable as a theatrical screenplay. ScreenStyle can help format a screenplay according to accepted industry standards. ScreenStyle runs under Microsoft Word on Windows and Macintosh. Go to www.ScreenStyle.com for more information.

Types of Television Scripts

Television scripts ("teleplays") come in many formats. The format that a particular program uses depends primarily on how that program is produced.

Filmed One-Hour Dramas

A "Star Trek: Deep Space Nine" teleplay looks very much like a screenplay. Why? Because filmed shows such as "Deep Space Nine" are produced in a fashion very similar to theatrical films: they're shot on location or in a soundstage without an audience; they're shot one scene at a time using one camera (usually); and they often feature many locations. And they may (but don't necessarily have to) emphasize pictures over words.

Taped Situation Comedies

Taped situation comedies ("sitcoms") such as "The Drew Carey Show" use a specific script format. The program is videotaped in front of a live audience which not only (hopefully) gives it a laugh track, it also limits where scenes can take place (street scenes and large crowds tend to be out of the question). The text in the script is spaced out much more so than in a screenplay; a page of a screenplay translates into about a minute of screen time while a page of a sitcom teleplay translates into about thirty seconds of screen time. The scenes are numbered-and the scene numbers are displayed at the top of each page along with the page numbers. The script is divided into acts and scenes-and each begins on a new page. A list of which characters are needed in each scene appears at the beginning of each scene. The dialogue can contain "personal direction" for the actor (such as "she sits" or "glumly") within it rather than outside of it, just like a stage play.

Also available from ScreenStyle.com is SitcomStyle, which can help format an industry-standard situation comedy script. SitcomStyle is fully compatible with ScreenStyle and runs under Microsoft Word on Windows and Macintosh. Go to www.ScreenStyle.com for more information.

Talk/Variety Shows, News Programs, Etc.

Scripts for news or talk shows (yes, talk shows use scripts) look much different than either of the above examples. Such scripts tend to serve as a general outline of the program: the evening's lead stories, notes for the host(ess) about the guests and questions that could be asked, an opening monologue, when and what the musical guest will play, etc. The script may contain two separate columns for "Audio" and "Video" for listing which events/effects occur in what sequence. What little scripted (pre-written) dialogue there is gets squeezed into the "Audio" column (these shows aren't about scripted conversation, after all).

Screenplay vs. Teleplay: A Comparison

Since most writers reading this article will probably be creating either screenplays or sitcom scripts, this article will focus on those two formats.

PAGE ELEMENTS

The Cover

A sitcom teleplay's cover should contain the name of the show, the title of the episode, and the name of the writer. A screenplay's cover should contain the name of the script only.

The Title Page

A sitcom teleplay's title page should contain the name of the show, the title of the episode, the name of the writer, the writer's "contact info" and/or the name of the production company, and the draft number. A screenplay's title page should contain all of the above except, of course, the episode title.

Every Page

The first (and every subsequent) page of a screenplay should contain page numbers in the upper right-hand corner. The first and every subsequent page of a sitcom teleplay should have page numbers as well, but the page numbers should also include scene letters (i.e., "A", "B", "C", etc.)

The First Page Following the Cover and Title Page

The first (and only the first) page of a screenplay should contain the title of the screenplay. The first page of a sitcom teleplay should contain the name of the show, the title of the script, the act number (or the word "Teaser"), and the scene letter.

The First Page of a New Act/Scene

The first page of each act of a sitcom teleplay should contain the name of the show, the title of the script, the act number, and the scene letter. Every scene in a sitcom teleplay should begin on a new page, and the scene letter should be displayed at the head of the scene. On such pages, the scene letter should not be repeated at the top of the page underneath the scene number. Every scene in a sitcom teleplay should feature a list of all the characters who appear in that scene. Unlike in a sitcom teleplay, the "acts" in a screenplay are not specifically defined. Since new scenes in a screenplay do not have to begin on new pages, there are no special requirements for a page on which a new scene begins.

Scene/Script Endings

Screenplays and sitcom teleplays differ little in this regard. In both cases, scene transitions can be indicated using "CUT TO:", "FADE TO:", etc. The end of each act of a sitcom teleplay can, if desired, be labeled "END OF ACT ONE", etc. Scripts of both formats usually end with the words "FADE OUT" and "THE END".

Text Elements

Text formatting for screenplays and sitcom teleplays is pretty similar. There are several important differences, however. Note: For the following section, the names of the appropriate ScreenStyle/Sitcom styles will be in [brackets] for the users of that script-formatting software. For more information, go to www.ScreenStyle.com.

"Fade In:" ["Fade In"]

When used, "Fade In:" is formatted using all caps in a screenplay and with all caps and underlined in a sitcom teleplay.

Scene Numbering (Lettering) ["Heading 1"]

As noted above, scenes in a sitcom teleplay are numbered using capital letters. The letters have ample space above and below them and are underlined. When scenes are numbered in a screenplay, the numbers appear in both the left and the right margins adjacent to the slugline.

Slugline ["Heading 2"]

"Sluglines" are also called "scene headings", "headings", and "scene captions". Sluglines indicate where a scene takes place, at what time of day, and whether it needs to be shot indoors or out. In screenplays, sluglines are in all caps; in sitcom teleplays they are capitalized and underlined.

Character List ["Subtitle"]

In a sitcom teleplay, a list of characters that are needed in a scene should appear directly below that scene's slugline. It is in upper- and lower-case text and enclosed in parentheses. Screenplays should never contain lists of characters.

Scene/Action Descriptions ["Actions"]

Scenic and action descriptions in a screenplay are formatted as upper- and lower-case text. In a sitcom teleplay, they are formatted in all caps.

Character Intros/Sound Effects/Special Effects/Camera Instructions

In a screenplay, all of these are written in all caps. In a sitcom teleplay, they are capitalized and underlined.

Character Names/Dialogue ["Character"/"Dialogue"]

For dialogue in both sitcom teleplays and screenplays, character names are typed in all caps and the dialogue itself appears in upper- and lower-case text. However, in sitcom teleplays the dialogue is double-spaced.

Personal ("Adverbial") Direction ["Line Actions"]

Often, instructions specifically for the actor appear within a character's dialogue. In a screenplay, this "personal direction" is inserted inside parentheses on a separate line or lines in upper- and lower-case text between the lines of dialogue. In a sitcom teleplay, personal direction appears within the dialogue-on the same line-in all caps and enclosed within parentheses.

Other Items

For most other items, screenplays and sitcom teleplays are formatted identically.

Are They Interchangeable?

Screenplays and sitcom teleplays are not interchangeable, as the preceding doubtless illustrates. However, it is possible to reformat a screenplay into a sitcom teleplay or vice versa with a minimum of retyping and reformatting. The main thing is to understand where the formats differ and where they do not. ScreenStyle and SitcomStyle, ScreenStyle.com’s two flagship products, not only allow writers to easily format their scripts, but when used together they allow, say, text from a screenplay to be copied and pasted into a sitcom teleplay and automatically take on proper sitcom teleplay format! (Of course, it works the other direction as well.)

[odocoileus]

John August's show outlines:

http://johnaugust.com/downloads_ripley/ops_venezuela_outline.pdf (http://johnaugust.com/downloads_ripley/ops_venezuela_outline.pdf)


http://johnaugust.com/downloads_ripley/dc-pilot-outline.pdf


http://johnaugust.com/downloads_ripley/dc-normal-episode.pdf (http://johnaugust.com/downloads_ripley/dc-normal-episode.pdf)


Pitch document:

http://johnaugust.com/downloads_ripley/dc-what-it-is.pdf


Mostly film treatments:

http://www.simplyscripts.com/treatments.html


Samples of scripts in TV format are actually quite easy to get.

http://www.simplyscripts.com/tv_all.html (http://www.simplyscripts.com/tv_all.html)

[Christine N.]

This is very helpful, but I don't have to write a script, just a synopsis. It's a complicated situation. Mainly the reason I need to write it is because our agent at ICM had a nibble for a TV adaptation of a shared universe series. Each author has their own characters and setting, but they overlap in a lot of ways. NBC liked it, but hated that there wasn't ONE central character. So the book series editor came up with a first season plot arc, and I need to come up with a synopsis for a one hour show that would take the characters we've designated as central and put them into MY part of the shared universe.

I just need the treatment/synopsis, and the dividing into quarters is helpful for the synosis, to keep me from rambling on past my allotted time. ICM agent man has a scriptwriter for us.

But this is all fabulous - I've always wondered what went into a TV show.

[Dustry Joe]

You realize, I assume how many teeth are grinding to read about somebody getting assingments to create TV shows while wondering what goes into them?

Merry Christmas.

[Christine N.]

Yes, I realize that. It's rather an unusual situation. We wrote the books. The ICM agent (Elliot Webb, don't know if you know him?) likes the books. Had his script team write a treatment for some of the stories in the books as they were, using the material they had.

NBC said 'we like it but...'

So we're trying to make them happy. The only reason for me doing one is because they're my characters and my setting, but they need a new plot. Otherwise they would have used what was already written. He may sell it to another studio as is, but we're trying to be prepared. (please not Fox, please not Fox...)


I've seen movie scripts before, but the challenge of TV for me is time and commercials. Little tiny plot arc that fits in one interrupted hour.

I really appreciate your help, and I'm learning a ton, and I think I have a better handle on it! Thanks so much, and Merry Christmas to you too!

I may be back later...I'm considering writing a treatment for a movie adaptation of one of my books. Don't know who I could sell it to, but I could at least do it and then go from there. I have a friend in LA who has a friend who's got a production company. He liked my first book, but was searching for funding, and with the writer's strike, he's doing nothing at the moment. Just trying to be prepared.

[odocoileus]

You realize, I assume how many teeth are grinding to read about somebody getting assingments to create TV shows while wondering what goes into them?


Not mine.

Hollywood loves to work with people who have some proven success in another medium. Especially when the success is in a hot genre, like kids and magic, with a unique spin, like girl power.

[Dustry Joe]

Hollywood loves to work with people who have some proven success in another medium

You really get that impression?

[Plot Device]

You really get that impression?

I'm assuming here you're serious and not being dryly witty. (But if you are being dryly witty, just say "Duh!" to me and that'll fix everything.)

I have to agree with odocoileus only because of what I have been UNANIMOUSLY hearing from/learning from currently successful people in Hollywood who are at the lower ends of success (meaning they are not pulling in 7 digits, but they are indeed making an actual living in Town). These people include executives, writers, readers, producers, etc. They have all said that the current environment in Hollywood is one of scared-y-cat cowardliness as far as ANYBODY saying "yes" to a new and innovative project. They want to know that the project has had success in some OTHER arena first. Such as a successful comic (like 300), or a successful novel (like LotR), or a successful TV series (like Charlie's Angels), or a remake of a 15-year-old-plus film (like The Fog, which was just as stupid first time around). No one is willing to be the FIRST to say "yes" to something, but a few are willing to be the SECOND. So if Simon and Schuster said "yes" first and published it as a novel, then Universal is willing to say "yes" second and make it into a movie.

An interesting exercise would be to cruise any database for Oscars for the previous ten years. The two categories of "Best Original Screenplay" versus "Best Adapted Screenplay" will present some eye-opening data. The past ten years there have been (I believe) TWO entire years where the Academy was so hard-pressed to come up with nominations for original screenplays not based on pre-existing material that they didn't even fill in all five slots on the nomination roster.

And also, a sampling of all spec sales in the past two years will reveal that 70%-80% of spec sales are from pre-existing material, only 20% -30%are totally original material.

I have been strongly urged to reverse-engineer my current screenplay into a novel (which might take a year) and then get it published (which might take another year) and only THEN will Hollywood be interested in my screenplay. I have been repeatedly told: "It's much faster that way!"

[Dustry Joe]

PROJECTS coming in with successful earning history. But not PEOPLE.

I have been strongly urged to reverse-engineer my current screenplay into a novel (which might take a year) and then get it published (which might take another year) and only THEN will Hollywood be interested in my screenplay. I have been repeatedly told: "It's much faster that way!"

I am doing exactly the same thing. I believe it. I think you will find that it takes much less time to adapt from a script than to write from scratch. I did mine in a couple of months.

And if the novel does well, they'll want it. They may or may not want you. And if you try to present yourself to them as a successful novelist who's sold a jillion books they might not be interested either. They aren't interested in Yukio Mishima or James Lee Burke. They WERE interested in "Gone With the Wind".

So, no, I wasn't being dryly. I think one of the problems in Hollywood is that they are very in-groupy and don't respect outside expertise. (But I can say, Duh if you like...it's fun :-)

[Madbandit]

I never wrote for TV, but from what I've read they do a 4-Act stucture for the sake of the commercials.


Here's my general understandig:

1) teaser opener
2) openig credits and commercial break
3) inital plot intro
4) the hunt begins
5) startling discovery
6) commercial break
7) more hunting and developments
9) red herring
10) another startling discovery
11) commercial break
12) serious breakthrough
13) formidable obstacles (such as powerful person deliberately blocking them)
14) efforts to overcome obstacles
15) cliffhanger
16) commercial break
17) the "big reveal"
18) chase/climax
19) denoument
20) closing credits and commercials


Anyone is free to correct me. And if someone has a link to a more precise nbreakdown, by all means offer one.

That's pretty much right. Some dramas vary, though. The "Law and Order" shows, "Cold Case" and "24" go by:

1)Teaser
2)Act One
3)Act Two
4)Act Three
5)Act Four/Tag

I like the Stephen J. Cannell (The Rockford Files, The A-Team, Wiseguy, 21 Jump Street, Renegade, The Commish, Silk Stalkings) approach, which current shows like "Smallville", "Chuck" and "Numbers" use:

1)Teaser
2)Act One
3)Act Two
4)Act Three
5)Act Four
6)Tag

Either way, a drama is a drama.