Screenwriting : Treatment? by Martina Cook

I've never written a full 20-30 page treatment. However as I write a script, ideas for future scenes come to me and I write those down as I go as "need to write". In other words, I've started writing a script and the treatment came to me faster than I could put down all the scenes to get from point A to point Z so I at least write them down and then keep writing where I was. Sometimes I cut those ideas completely and other times they become scenes and as I write them, they evolve, become amplified and introduce new info I have to go back and add to previous scenes.

I see that kind of stuff as a time-waster, but I rarely do more than maybe a one page outline before I start a script, which I know is different than many of the writers here like to do. Everybody is different, no rules on the process. Do what works for you.

I write an outline, not a treatment.

I write an outline. A treatment is usually only for if a producer who wants to get involved asks for one. At least that's my experience.

I can't write an outline. I don't know where the characters are going to take me once I start the screenplay or novel.

Nope. I use research/character/story notes and create the bones of a screenplay in an outline before starting. I like to leave room for discovery, work things out on the page. Of course everyone has their own methodology. Whatever works best. ;) ...Keep in mind: a story synopsis (1 maybe 2 pages, maybe double spaced, more common) and a treatment (10, 15, maybe 30+ pages) are somewhat similar but rather different things... Unfortunately many people use those terms interchangeably.

Nope, I free write until the plan comes together and the story starts to make sense. I have written from the end to the beginning, I have also written from the middle out.

A treatment is 12-15 pages; 25-30+ pages is a book.

No, treatments can get up to 30+ pages. It depends. There are spec treatments used for marketing, and/or the longer treatment document perhaps asked for in development. ;)

This is the confusing thing for me. I've heard there are different kinds of treatments for different things. All of them from 15-75 pages. Sheesh. Just give them your script at this point. The fact is for me- you need a script. You don't really need a treatment.

That said- if someone asks you to produce one, you better believe you should do it. And immediately. But I've never been asked to, and so I've never done it. But thats not saying much. I'm a newbie, in my estimation.

Martina, in regards to using a treatment, or maybe a story synopsis, to see if something might be going wrong with a character arc, or the plot, or structure, etc, you shouldn't have to invest that kind of time into writing a treatment to be able to discern those possible issues. Story issues are discernible at an outline—actually, at the logline. You can tell if the concept will work or not at that point before going any further. Generally speaking, treatments aren't typically used for spec script planning before writing a screenplay (outside of development)... But again, everyone has their own process. Whatever works, right? Lol! ;)

Here's an article that may be helpful: http://www.scriptmag.com/features/breaking-stop-write-film-treatment.

Oh, sorry, I meant to also say... The above article helps to define differences between story synopsis, treatments, etc, for spec writers—what's typical of each and how they are used, some tips. Again, just thought it might be helpful. ;)

Beth

The Author of the article has an AOL email ! Cmon! :)))

Haha!! :))) ...Yeah, well, I normally don't care for articles by consultants/analysts—because they're typically promotional—but I thought this article breaks it all down, has some good info. Plus she's worked for some major studios.

Thanks for all you comments. Beth, yes I read that article and I found it very interesting. My problem is, I've noticed that once I finish my outline (my stories come up in my head from start to finish, and I outline in excel to see turning points more clearly), despite all efforts to leave space to my character to properly evolve, structure wins and I end up with a story that is plot driven rather than character driven. Which is what my last two screenplay seemed to suffer from. Nothing wrong with it, but I lose focus on the main character motivations and emotional struggle, ending up with a well structured but "emotionally empty" script. I basically fail in Act 2. That's why I was thinking about a treatment. But I understood now that a treatment is more of a marketing/producing/developing document for a more professional level. What I'll do is just writing my story down as it comes in a notepad, check that all the element for a fulfilling character arc are there and then organise it in an outline to check structure. Thanks again for the help, it's clearer in my mind now!

My synopsis is my treatment. Some won't like that but in 1 to 5 pages, I would have gone through the major plot points, main character's desire/need for change, character arcs, villain and secondary characters. If the story builds and characters seem real than I'm good but I don't mind 30 pages. That's more time. Pros usually ask for the logline and synopsis in my experience. I'm a novice after all.

I love doing THE BEATS and then fleshing in the betweens. I ususally figure out the recipe to the Cherry Pie and then reverse engineer it to the opening scene. Awesome! Keep is simple as a pimple! POP! Warm Regards, RJN.

For specs, I have a rough outline and a 2-3 page synopsis. If your script is feeling a bit emotionally bankrupt and plot driven, I'd go back to the script and read each scene; and ask - what is my character trying to emotionally achieve here. Write one sentence on a notecard what the character wants here and then in the next scene. Keep it short and concise.

I kind of work a bit backwards, Martina. Normally, my treatment comes after I have a few drafts under my belt. I think scenes can be moved around during my rewrites and I want the treatment to represent the final draft instead of the early drafts.

Yeah, as said before, everyone has their own methodology, whatever works best for you. ;) But all these things we do — beat sheets, outlines, synopsis, notes, research, sketches, some writers have developed their own worksheets for character development or story structure, etc — these things are for our eyes only, documents we create for ourselves. When you say "treatment" that has some different connotations. Plus personal interpretations of terms versus actual, factual definitions can be confusing as well. Personally, I prefer factual, or rather how they are defined and/or used professionally. What I liked about the article above is that she explains those meanings and uses. What I also liked is that she acknowledges that these terms are often used interchangeably within the industry too. But then she gives tips on how to ask specific questions to suss out exactly what the person is really talking about and/or asking for... When someone asks for a "treatment" they really may be asking for a story synopsis (summary) or an outline. Many in this thread are saying "treatment" when what they more than likely are writing is a story synopsis. So, again, whatever you are doing to work out your story and the execution of your screenplay is totally up to you—of course!!! But it certainly helps to know exactly what terms mean, how they are defined outside of ourselves, objectively, within the industry, and what is generally expected when you may be working with a rep or if hired by a producer, etc. Anyhoo, just my two cents... :) Happy writing everyone!