How to Write a Script Treatment for a Screenplay

A treatment is part of the "pitch" process to sell a script.

A script treatment is an extended synopsis of an unproduced screenplay. In addition to saving the recipients significant reading time, the purpose of this narrative blueprint is to entice agents, directors and producers to request the full script after seeing an overview of the characters, genre, core conflict, locations, turning points and resolution. Script treatments range in length from three pages to more than 30 and typically do not include any dialogue unless there is a recurring signature phrase.

Instructions

1. Compose a chronological list of major events that occur in your story from its opening scenes straight through to the end. For example:

   Two friends are summoned to the queen's court on charges of treason for ridiculing her in their plays. They convince her of their innocence and are released with a warning that their future productions will be closely watched.

   They recruit a clueless actor to hand copy their new script and pretend to be its author.

   The actor starts to interject his own ideas, which offends his employers.

   A plot to kill the actor goes awry; they now realize they really need him.

   The new play opens; the queen is in attendance and requests to meet the author.

   The actor successfully carries off the charade and becomes a media darling, much to the chagrin of the pair who invented his career.

2. Identify by name the characters who appear in your key scenes along with brief descriptions so readers can understand the casting requirements. For example:

   Sir James Peppersmoke (30's) is tall, lean and well-dressed. His writing partner and best friend Reggie Marland (30's) is short, rotund and looks as if he sleeps in his clothes.

   Make note of the locations and time frames of key scenes.

3. Expand upon your outline by referencing additional scenes that advance the action, reveal layers of character and introduce supporting players that are pertinent to the plot. For example:

   Will's wife, Anne, has her husband followed in order to confirm her suspicions that he is cheating on her. She is instead brought the news that someone is planning to kill him on his way home that evening.

4. Use the outline content you have just compiled to write a polished, short story version of your entire movie. In the opening paragraph, identify when and where your story is set and what is transpiring in the first scene. For example:

   The opulently dressed QUEEN ELIZABETH I glowers with contempt from her throne, impatiently tapping her boney fingers as she addresses two men whose backs are toward the camera. She archly reminds them that this isn't the first time they have committed acts of treason against the throne, and that obviously, the only way to put a stop to their behavior is by having them beheaded.

   Establish the central conflict within the opening paragraphs and maintain a tight focus throughout the treatment. Paint compelling visuals so readers can "see" the movie playing in their heads as they read the summary.

Tips & Warnings

• When characters are first introduced, display their names in all caps. Write your treatment in the present tense and convey the tone of the movie through your writing style. A comedy, for instance, will have a more lighthearted feel than a gritty film noir.

• Treatments are single-spaced with one-inch margins on all sides, short paragraphs and left margin alignment. They are printed on one side of white paper. Ink should always be black.

• Use an easy-to-read 12 pt. font such as Courier, Times New Roman or Bookman.

• The Movie Spoiler is a helpful website for understanding the level of detail that goes into a script treatment. Although its summaries are for movies that have already been produced, they closely follow the format of standard treatments.

• Script treatments can be written prior to starting a project or after completing it. The challenge in either case is keeping the treatment consistent with the script's actual content. Authors often deviate from their original outlines once the writing gets under way, and sometimes they embed copious amounts of back-story into the treatment that never subsequently manifests in dialogue or action.

References

• "Writing the Killer Treatment: Selling Your Story Without a Script"; Michael Halperin; 2003
• "Writing Treatments That Sell: How to Create and Market Your Story Ideas to the Motion Picture and TV Industry"; Kenneth Atchity, et al.; 1997
• "The Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style"; Christopher Riley; 2009
• "Save The Cat! The Last Book on Screenwriting You'll Ever Need"; Blake Snyder; 2005

Resources

• The Movie Spoiler