Writing a Treatment

Ron Maiden

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Opinions please. I've googled this, and answers seem to range from a "more detailed synopsis" type thing, to a very detailed almost story-like effort up to and including snippets of speech etc (Terminator). some just jump straight in, some (mr & mrs Smith) do an overview and set-up first.

is there an "industry standard"? how deep should i go?
 

dpaterso

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I think it depends what you're asked for, e.g. "Send us a 10-page treatment." Preparing a few alternative length treatments in advance may be the thing to do -- a quick 2-pager, a more detailed 5-pager, a 10-pager... Good practice for analyzing your story!

Just asking, you've read the article on link removed via request from other site's Webmaster.

[link removed via request from other site's Webmaster. 37. Proper Treatment. The ultimate no-win situation. No matter what you put in, they'll criticize what isn't there. And you don't even get paid. (Includes links to two outlines & one treatment.)

-Derek
 
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clockwork

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Every producer I've met, at the initial pitching stage, prefers a three page (max) treatment. It depends who and what it's for.
 

creativexec

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Nobody reads treatments, so unless you're writing it on assignment - don't (unless it's for your own resource - which in that case "standard" is immaterial).

There is no industry standard. If this is a work-for-hire, I'd simply ask the producer or exec what he expects.

:)
 

Ron Maiden

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cheers all - can't get to Site link removed per request of other site's Webmaster, had to mail them re that error page thing.

"Nobody reads treatments" bit of a sweeping statement that.
 
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dpaterso

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cheers all - can't get to Site link removed per request of other site's Webmasterr, had to mail them re that error page thing.
I had the same problem in IE7 -- worked OK for me using Firefox. Reporting this previously got me nothing, my ISP's range of IP addresses must be treated as potential spam sources or similar.

I'd like to think that whoever asks to see a treatment actually reads it, but in tHe cRaZy WoRLd oF sCreEnWriTiNg, who knows?

-Derek
 
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creativexec

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"Nobody reads treatments" bit of a sweeping statement that.

Not necessarily. It depends upon your status. A few months ago I read the treatment for LETHAL WEAPON 5. But that was co-written by Shane Black for an existing franchise. In 2008, I only read two treatments, the other coming from ICON.

If you're writing a treatment as a means to market a script that hasn't been written and you have no resume, it's a waste of time.

If you're well established with good representation - it's a different story.

Part of the problem with treatments from a new writer is that they do not prove she can write a screenplay.

If you're a proven writer and people know your skills (like S. Black), then a treatment is acceptable. Execs trust he'll be able to adapt the treatment narrative into a dramatic format. (For instance, a treatment doesn't prove you can write dialogue. It doesn't prove you understand dramatic construction. It's tantamount to trying to sell a song by tap dancing it instead of singing it.)

A writer trying to establish himself is better off with a screenplay.

I don't know your situation, Ron. so this advice goes out to new writers trying to break into the business. For instance, agents and managers have no interest in looking at treatments from new talent.


:)


PS - I would suggest - if you were going to write a treatment - to break it down into three acts, so the reader can clearly see the structure.
 
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JulieJames

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So like a year ago at the screenwriting expo.... I pitched to several people, agents and prodcos and they all wanted a "one sheet" I think that's what they called it. but they said basically it's a synopsis on one side and a mock movie poster on the other, I didn't have it at the time.... would this be appropriate for a new writer that has a completed script to leave with the person they pitched? Does anything ever happen from those huge pitch events?? or is it just a waste of everyones time and $$?
 

creativexec

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If you go to a "PITCHMART" sort of event, you might leave something behind (logline and contact info) as a way to differentiate yourself from the pack of pitchers. (Otherwise, the exec may never remember your pitch after hearing fifty others.) The idea of a movie poster, however, is pretty ridiculous. You should be spending your time writing scripts not doing graphic design.

In a "real" pitch situation (like at a studio), I don't believe in leaving anything behind.

Don't ever compare pitching in a hotel banquet room with someone ringing a bell every few minutes to a studio pitch.

Let me add, "pitchmarts" are a great way to test your skills in a quick pitch sitch. But you're not going to sell a script in that sort of venue.

The people who attend those sorts of events are usually open to hearing pitches anywhere. Basically, only the most open-minded execs attend those sorts of events (because it's such a bad way to find good material). As a result, you probably don't need to shell out the money to talk to them. You could probably pitch to them via a cold call - which is the cost of a phone call.

Many of the execs & producers who attend those events have no money to option or buy scripts. Those who come from big companies are usually there to practice their "executive" skills. Many attend under the company name but with self-interest - aspiring to be independent producers and trolling for projects with no money to pay. That doesn't mean you cannot forge a meaningful relationship.

But, please, keep it all in perspective.

:)
 

mario_c

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I went to this year's Screenwriting Expo where I learned about the one sheet. Not to be confused with my familiar definition of the One Sheet - theatrical poster for a movie. No, these one sheets are a list of your loglines. What I like is, you're essentially pitching your whole body of work at once. But to fluff the one sheet, you run the risk of adding logs you haven't finished writing. What if the producer wants that one?! Oops, you played yourself.
I actually gave everyone I pitched to treatments (I ran out and had to print more!) because that is what they were asking for.

That is a interesting perspective on pitch fest reps, Creativeexec - one guy pointed out that these reps who take pitches (as many as 200 in one weekend!) are under pressure to come back from the fest with one dynamite script for the studio to make a hit out of. And yet it was pointed out that larger studios don't like to make movies - they like to develop the shit out of a existing script and only make the film when the profits start to dwindle. It's never a science, and sometimes it seems unattached to reality.
I have done 2 pitch fests and it's great to crack your shell and practice selling yourself as a artist in the real world. Having Avoidant Disorder as I do, this experience is invaluable. Maybe not worth flying to LA more than once for, but it was an experience. And now I dream of pitching again in a real meeting, with a half hour to expound and the possibility of a sale at the end. Maybe that's all it is.
 
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creativexec

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one guy pointed out that these reps who take pitches (as many as 200 in one weekend!) are under pressure to come back from the fest with one dynamite script for the studio to make a hit out of.

I can't speak for everyone in town, but I've never heard of an exec having to attend this sort of event with that sort of directive. There are much easier and painless ways to find material than having to sit through a pitchfest.

I think that would be wishful thinking on the part of the writer. Although I have heard of a few cases where a pitch lead to a sale at a mart, it is very rare. In fact, your odds of selling a spec script in general are probably higher than selling a script via a pitchfest. (Can anyone specify a genuine $ success from a pitchmart?) I don't know any new writers who've sold a script at a pitchfest but know many new writers who've sold specs the "conventional" way.

I don't have a problem with pitchmarts. I do think they're a great field to practice - like buying a screenwriting book or taking a class. It's when they milk writers of money by selling the dream (that they cannot back up) where I take issue.

:)
 

nmstevens

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Nobody reads treatments, so unless you're writing it on assignment - don't (unless it's for your own resource - which in that case "standard" is immaterial).

There is no industry standard. If this is a work-for-hire, I'd simply ask the producer or exec what he expects.

:)

Well, just for the sake of clarity -- nobody reads treatments for *spec* screenplays.

A treatment is very commonly a *step* in a script assignment -- execs want to see a treatment (or to be precise, they want to see a treatment, then another treatment, then another treatment -- and maybe then another treatment) -- so that they get to comment and misunderstand exactly what the movie is you intend to write for a few weeks to a month and a half before they finally let you move on to the first draft.

As to what they "expect" from the treatment -- in my experience, execs and producers who read treatments expect exactly the same thing that they expect when they look at rough cuts.

They *expect* to be able to see what the finished work will look like -- and since they never can, they get all worried, excited and upset and start giving you tons of notes and asking you to change things, hoping desperately that maybe the next version -- of the treatment -- will somehow satisfy that "itch."

Because just like everybody thinks they know how to drive and everybody thinks they know how to make love -- every exec and every producer believes that have these dual skills -- to be able to read a treatment and know what the finished script will be like and to look at a rough cut and know what the finished movie will be like.

But as with the former two things -- very few people can really do either of these things really well. Many can't do them at all.


Treatments for comedies aren't funny. Treatments for horror movies aren't scary. You always hear the notes -- "the characters aren't fully developed" -- Well, gee. Here we have a ten page document that's giving you an outline for what's going to be a hundred and ten page document.

Nothing is fully developed.

In fact, were you to have something fully developed at the level of a treatment would mean that you were doing something wrong.

That's why any story that has even a slightly complicated or convoluted plot is not only extremely difficult to pitch -- but even to write out as a treatment and try to get past execs is murder -- because summarizing things like scenes bouncing back and forth in time or multiple story lines -- even as you're writing it, you can just sense their eyes glazing over - their "not getting it."

Well, anyway -- I fear I've run past the original poster's question into semi-autobiographical material.

Carry on, all.

NMS
 

Ron Maiden

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"You always hear the notes -- "the characters aren't fully developed" -- Well, gee. Here we have a ten page document that's giving you an outline for what's going to be a hundred and ten page document."

sounds related to my work - managers ask for estimates on costing etc as to how long we'll take to test something. go over that, and it's the Spanish Inquisition. Hell-o, do you *understand* the word "estimate"???