How to plan and write your next script - 3
by Charles Harris
In the first two parts of this series on writing and editing your script for cinema or TV, I focused on the seed image that starts it all, and the premise or pitch that provides the dramatic fuel (re-read them here). Now we move to writing the treatment (aka synopsis or outline).
1. Writing a treatment is by far the best way to plan out your script in advance
It’s true that some writers dive in and fly by the seat of their pants, but they are rare and almost always writing novels. A screenplay is much tighter and will run away from you if you don't plan. I have only written one successful screenplay without a treatment to start (and even then I spent time sorting out my ideas while I tried and failed to!)
2. Writing a treatment is invaluable for rewriting
Once the first draft is done, you need to stand back and get perspective. Otherwise you get lost in the mess. I find that the best way by far is to go back and rewrite the treatment based on what I have now learned.
3. Writing a treatment is essential for selling
More and more producers and agents insist on seeing a treatment before they’ll consider reading your script. It doesn't matter how brilliant your writing is - if the treatment doesn't fly, the script will never even get read.
However, the good news is that you don’t need to write three kinds of treatment. The effort entailed in ensuring your writing is clearly understood by others will make it all the better for planning and editing too.
Starting the treatment
If you followed the last article and worked up a strong log line then you have a solid basis to build on for the treatment. You know your genre, the protagonist and his or her main story goal.
Treatments can be of any length - from half a page to 30 pages or more - though most range from two pages. (the length you need for the Euroscript Screenwriting Competition) to five.
I find it best to start with a very short version, maybe less than a page - to help me focus.
I follow with a deliberately overlong version - to allow the writing to expand. I then cut that version short again. Alternating lengths allows me to get the best of both worlds - brevity and flow.
Style
Write in the third person, present tense (like the script). Focus on the most important beats of the story - and as with the pitch: be ruthless. But at the same time, keep the style flowing. Allow it to reflect the genre - light-hearted for comedy, dark for horror, etc.
Character
Don’t forget character. A good treatment is just as much about character as plot. I find it useful to alternate sentences between character journey and outer story. This draws the reader in and also avoids the dreaded “and then… and then… and then…”
Proportion
Your aim is to make the treatment fit the proportions of the planned script - in other words the first quarter of the treatment should equal the first quarter of the script, and so on. This is a tough one - most of the treatments I see spend far too long on the opening, feeling that they have to explain everything. You don’t. It’s not about how much you can squeeze in, but how much you can get away with leaving out!
Ending
And unlike the pitch, you must include the ending. This is an unbreakable rule. No matter how much of a surprise twist you've got, you have to tell us. Without the ending, we can’t appreciate the point of the story. Or be sure you know how to end it yourself.
Start now. Focus clearly on your story, the unfolding of key events, the development of the inner journey and how it all comes together at the end. Create treatments of different lengths - you’ll need them later. And make your writing sizzle.
Next: Writing the first draft
If you liked this article, Charles Harris runs Exciting Treatments for Euroscript - a one-day workshop on writing treatments for cinema and TV in February and November. He'll take you through basic and advanced techniques for writing the strongest treatments and series proposals - including language skills that you need and which aren't taught in normal screenwriting classes.
This is always a popular class and gets rapidly booked up. Check here for the next available date and to see if there are still places available.
by Charles Harris
In the first two parts of this series on writing and editing your script for cinema or TV, I focused on the seed image that starts it all, and the premise or pitch that provides the dramatic fuel (re-read them here). Now we move to writing the treatment (aka synopsis or outline).
1. Writing a treatment is by far the best way to plan out your script in advance
It’s true that some writers dive in and fly by the seat of their pants, but they are rare and almost always writing novels. A screenplay is much tighter and will run away from you if you don't plan. I have only written one successful screenplay without a treatment to start (and even then I spent time sorting out my ideas while I tried and failed to!)
2. Writing a treatment is invaluable for rewriting
Once the first draft is done, you need to stand back and get perspective. Otherwise you get lost in the mess. I find that the best way by far is to go back and rewrite the treatment based on what I have now learned.
3. Writing a treatment is essential for selling
More and more producers and agents insist on seeing a treatment before they’ll consider reading your script. It doesn't matter how brilliant your writing is - if the treatment doesn't fly, the script will never even get read.
However, the good news is that you don’t need to write three kinds of treatment. The effort entailed in ensuring your writing is clearly understood by others will make it all the better for planning and editing too.
Starting the treatment
If you followed the last article and worked up a strong log line then you have a solid basis to build on for the treatment. You know your genre, the protagonist and his or her main story goal.
Treatments can be of any length - from half a page to 30 pages or more - though most range from two pages. (the length you need for the Euroscript Screenwriting Competition) to five.
I find it best to start with a very short version, maybe less than a page - to help me focus.
I follow with a deliberately overlong version - to allow the writing to expand. I then cut that version short again. Alternating lengths allows me to get the best of both worlds - brevity and flow.
Style
Write in the third person, present tense (like the script). Focus on the most important beats of the story - and as with the pitch: be ruthless. But at the same time, keep the style flowing. Allow it to reflect the genre - light-hearted for comedy, dark for horror, etc.
Character
Don’t forget character. A good treatment is just as much about character as plot. I find it useful to alternate sentences between character journey and outer story. This draws the reader in and also avoids the dreaded “and then… and then… and then…”
Proportion
Your aim is to make the treatment fit the proportions of the planned script - in other words the first quarter of the treatment should equal the first quarter of the script, and so on. This is a tough one - most of the treatments I see spend far too long on the opening, feeling that they have to explain everything. You don’t. It’s not about how much you can squeeze in, but how much you can get away with leaving out!
Ending
And unlike the pitch, you must include the ending. This is an unbreakable rule. No matter how much of a surprise twist you've got, you have to tell us. Without the ending, we can’t appreciate the point of the story. Or be sure you know how to end it yourself.
Start now. Focus clearly on your story, the unfolding of key events, the development of the inner journey and how it all comes together at the end. Create treatments of different lengths - you’ll need them later. And make your writing sizzle.
Next: Writing the first draft
If you liked this article, Charles Harris runs Exciting Treatments for Euroscript - a one-day workshop on writing treatments for cinema and TV in February and November. He'll take you through basic and advanced techniques for writing the strongest treatments and series proposals - including language skills that you need and which aren't taught in normal screenwriting classes.
This is always a popular class and gets rapidly booked up. Check here for the next available date and to see if there are still places available.
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