Pre - Production: Treatment Research

When writing my treatment for the script, I need to make sure it has all the elements that would entice a producer to want to read my actual script. It should be enticing, exciting and leave the reader wanting to know the answers to the protagonists troubles they are facing. I decided to do some research into what goes into a treatment so I can understand fully the format of what is needed and how long it should be.

Producer and screenwriter Professor Marilyn Horowitz has written several feature length screenplays. and is the author of six books. She has wrote a very detailed helpful article on writing a treatment and synopsis on the website movieoutline.com


Marilyn has written the key elements that should go in a treatment.

1. A Working title.
2. The writer's name and contact information
3. WGA Registration number
4. A short log line
5. Introduction to key characters
6. Who, what, when, why and where.
7. Act 1 in one to three paragraphs. Set the scene, dramatise the main conflicts. 
8. Act 2 in two to six paragraphs. Should dramatise how the conflicts introduced in Act 1 lead to a crisis.
9. Act 3 in one to three paragraphs. Dramatise the final conflict and resolution.

I am going to sort my script into 3 acts, which will help me to create my treatment as it will be in 3 clear dramatic sections. 

• Act 1 is called the set up, it is when the situation and characters are introduced. This is usually around 30 minutes, but as my script is for a short film, it will be much less.

In act one I have introduced Bethany and George, in scene 2 the audience learn that George is a writer and Bethany is a performer. I tried to make sure that we immedietly establish in the script that Bethany and George are both struggling in their career, Bethany desperately wants to leave performing at her local theatre, and perform in London. George is a writer that needs someone to publish his book. 

• Act 2 is called the conflict. In feature films it is an hour long and it is where the conflict begins and expands until it reached a crisis.

In act 2, it is where my main story happens. Bethany begins receiving more intense parcels and finds out that George and Lucy have been lying to her. She confronts the agent and also the 'point of no return' is reached, when Bethany goes through all of Georges work, which she knows he's been working hard on for months. The two have a heated argument and the climax is when Bethany is about to perform on stage. 

• Act 3 is called the Resolution, the conflict gets bigger and is resolved.

In act 3, we see Bethany in a struggle on stage whilst performing, she is gradually taken away by an unknown person, and we finally see who has been tormenting her. The conflict isn't necessarily resolved as the audience don't exactly find out if she was actually going crazy, or if Francis really was the one behind it all, as he is suddenly sat in the audience.http://www.movieoutline.com/articles/how-to-write-a-treatment.html

I also looked into Charles Harris, an award winning writer and director and also co founder of the first screenwriters workshop in the world. On his blog he has written some points to remember for writing a treatment which I found extremely helpful.

1) Keep it short.

2) Remember the purpose of a treatment

The purpose of a treatment is simple: to get someone to read the script. You don't have to include every joke, or any of the subplots.

3) Show me an active protagonist.

Most treatments fail because the protagonist is passive or reactive. Make sure yours drives the story forwards through the actions she takes.

4) Put pictures on the screen of my mind.

Leave me with at least two or three vivid, exciting images.

http://www.charles-harris.co.uk/about-charles-harris/

I think that number 3 is especially important in the treatment and in the film itself, as I want to make sure that the protagonist starts off a certain way, and changes throughout the film. I need to show her as a loving, caring, shy character in act 1, and during act 2 and act 3, see the change in Bethany, she will become anxious, paranoid and more confident in confronting people.

For number 4, I am going to try set the scene in the treatment and describe the characters, but not in too much detail as I have to remember to keep it short and sweet. I want to make sure that when someone reads it they can at least picture the mood and style of the room and characters, just like I did when I wrote it.

I also looked into what makes a good log line. I've always struggled to tell my ideas in a simple way, I find it easier to write it. So when writing the log line I wanted to make sure that if I could tell someone it in person, they would fully understand it. I need to make sure it's short, but narrows down the whole film in a few sentences.

''A good log line doesn't tell someone too much. It's always good to leave a little something to the imagination.''  Jonathan Treisman

''Some may ask, why is the Spiderman logline a high-concept idea? It's high concept because, while we all can't relate to what it would be like to be Spiderman, the film has many high-concept themes that we can all relate to such as: unrequited love, parental approval and of course, wish fulfillment as a superhero.''

I find this very interesting as the film we are creating is dramatic, and over the top a little, but still relatable. It has the conventional romance in it which many people can relate to, whilst also showing how siblings can be jealous of one another. I want to make sure that the audience are intrigued by the log line, yet still find the realism in it somehow. 

https://www.writersstore.com/writing-loglines-that-sell/

Here is a draft of my treatment, which also includes a log line and short synopsis of the story.

Treatment