From treatment to script

I write the script first, so I couldn't tell you.

Scene by scene outline, definitely. it's great that you started with a treatment.

I'd say scene by scene too (that's just my process, personally), maybe write the one or two scenes you have big passion or excitement for first, then just sort of fill it in as it comes to you. The cool thing with having a scene-by-scene lay out is, it's just sort of like "connect the dots" ... You're just fleshing out the skeleton you already have ... Don't try to nail things down the first draft, just keep it loose and easy, allowing for new ideas and scenes to evolve if needed. Writing is re-writing, is the classic observation.

You say English isn't your first language? Could have fooled me. I could see how writing Comedy might be harder in a second language, but I'd bet your English is up to anything. Even "native" speakers can benefit from running their scripts past other folks ... but it's pretty minor to just have a few folks read it through and point out any possible stiff or awkward word choices (heck, Brits have to do it to pass for American-speakers, Americans for Brits, etc)

Welcome to the forum, Bleen.

Whether you're writing script or prose, a good rule of thumb is to start the story at the point when something changes, when circumstances or events move characters in a different direction and force them to deal with that change. And/or, open with a location or event that offers an interesting main character introduction. If it's a genre script, say a heist movie, perhaps kick off with a fast-moving sequence that shows a crime being carried out by the gang, kind of like a teaser for the bigger crime that will form the heart of the movie. Are they cool and efficient, or bumbling and incompetent? Is the protagonist a meticulous planner who never makes a mistake, or does he wing it and rely too much upon luck? Something that shows the audience what your characters are and how they think. Exploring such thoughts might suggest how and where to begin your script. Think visually and avoid voice over if possible (boring!).

-Derek

hey, bleen, guess what? i read a book! thus and therefore i am an expert on every facet of screenwriting.

you believe me, right?

good. that said, i read 'save the cat,' (blake snyder) which came recommended. in it he's got a piece of advice that sounds pretty reasonable to me. *pause for drumroll*

brrrrrrrrrrrrrrrrr.

thank you, thank you very much. that advice is to write all of your scenes on index cards. that way you've got an outline (of a kind) that you can literally shuffle around until it's right. plus, it's portable, so you can play around with it on the bus, stuck in an elevator, sitting on the toilet, crumpled in the corner of a tijuana jail cell while waiting for your friends to sober up enough to come bail you out (man, have i been there!), wherever. blake goes a bit farther and insists you add to each card the emotional impact and conflict to help you determine exactly the best placement. bearing in mind his advice revolves around 'high concept' ideas, you should, according to him, have no more than forty cards/scenes. (really, nine cards each for act one, first half of act two, second half of act two, and act three. the leftover cards are used for scenes that goes towards feeding your ego/eccentricities.)

btw, thanks for the inspiration, d. i'm now thinking about a thief with all the cool of james bond and all the competence of barney fife.

Add dialog

Add dialog to your completed treatment and. voila. a completed script.