Treatments were once a tool for the writer to work out the concepts and beats of the story before spending weeks writing a screenplay. This saved time and made story and beat rewrites easier. It also allowed the writer to improve or tweak the story after meeting with producers, directors or key actors.

Today, treatments are a tool to sell the story and many times several versions are created to facilitate different meetings. For instance, a studio executive doesn’t have time to read more than a paragraph or possibly a single page, while a producer may desire the three-pager, or a director a 20-pager. The writer might even craft a 40+ pager for structural work before diving into the screenplay.

Regardless of the need for varying lengths, there are 12 steps needing to be addressed in creating a treatment:

STEP 1: Keep it brief. A concise writing style is needed to move the story quickly no matter what length is written. The key is to write in an easy to read style with common words, while clarifying key story elements. Only include the elements that highlight the story and avoid unnecessary details.

STEP 2: Show & Tell. Treatments must make it easy for the reader to “see” the story visually in their mind. It also must stimulate the reader’s emotions using the right pacing and word choice.

STEP 3: Test the Pitch. Sharing the story with friends is the best way to test the concept, visualization and emotional response of the listener/reader. This will allow the writer to tweak whatever parts of the story tend to lull and give him or her permission to drop those loved scenes that just don’t work.

STEP 4: Visually Appealing Presentation. The best treatment looks and reads as easily as a short story. It is written in narrative form using quotation marks for dialog (used sparingly) and avoids mention of any film terms or technical screenplay structure.

STEP 5: Dramatic & Emotionally Stimulating. The story must be filled with action, three-dimensional characters, and focused dialog – All designed to move the story forward. Detail should be limited and not delay the read.

STEP 6: Present Tense. The treatment must use present tense to place the reader in the scene as it happens, just like movies. Action verbs will enhance this sense of immediacy.

STEP 7: Hook & Tease. Hook the reader’s interest by making the story’s subject uniquely different than anything else seen. Tease the reader by raising questions in the reader’s mind, compelling them to seek the answers and finish the read.

STEP 8: Reveal Key Characters. The reader should understand the main characters, their attitudes and how the protagonist changes throughout the story. Also, the reader has a need to bond with the main character, so the treatment should provide a “Save the Cat” moment up front.

STEP 9: Clear Scene Structure. The structure of the paragraphs and the description of the settings must be in keeping with the style of the show and clarify scene and act breaks. It needs to be written concise enough as to not slow down the reader’s experience.

STEP 10: Key Scenes Only. The obligatory throughline scenes are important to include in the treatment and enough of the B-storyline to clarify the story’s theme. Plots C, D, or E are not typically addressed unless they overlap with the action plotline. For brevity, not all scenes from the action plotline will be included.

STEP 11: Turning Points. All turning points, cliffhangers, and other twists in the plot must be in the treatment. This is critical because each one propels the reader into the next act or scene, and sends the main character in a new direction.

STEP 12: Follow Media Treatment Rules. There are many prescribed treatment formats in the film and television industry, which should be used when required. However, there is one thing that nullifies this recommendation: A great treatment is great because its writer is an expert dramatist, which overrides everything else – Just entertain the reader at all costs.

The typical treatment length for a MOW (Movie of the Week) is 7-15 pages and is broken into 7 or 8 acts depending on the network. The length of a feature film treatment is 10-20 pages and broken into 3 acts. However, other lengths will be required for various meetings.

Copyright © 2013 by CJ Powers

Photo ©  Andres Rodriguez – Fotolia.com

The Hollywood Reporter invited me to a live Sundance Google^® Hangout with four other filmmakers to chat with Oscar^® winning documentary writer/director Frieda Lee Mock about her new film Anita. The hangout session was broadcasted live from the Village at the Lift on Friday morning, the first day of Sundance 2013.

Anita Hill joined our discussion with Mock and brought another perspective to the film, which had all four showings sold out within the first few minutes of Sundance’s opening. Mock’s documentary is about attorney Hill’s life including her infamous sexual harassment accusations against Supreme Court Justice Clarence Thomas, who at the time was a nominee for the high court.

The conversation was fascinating with both Mock and Anita answering our questions while the entire program was streamed live. A 9-minute version was made available for the Sundance diaries and on YouTube. Here is a clip…

I was recently on the set of an independent feature film and realized the one thing slowing down their production was an indecisive director who lacked a director viewfinder. Instead of the director quickly determining what type of shot set-up and lens he wanted using the glass, he made the camera and grip team move the equipment around 2-3 times to determine each set-up. That choice cost them 45 minutes of shooting during the time of my visit.

The experience prompted me to provide 5 reasons why independent filmmakers should use a director viewfinder:

1. PREPRODUCTION: Many directors create a shot list and map out their camera set-ups during preproduction. Some use small objects to represent their talent and test their blocking with set prints, models, or taped tabletops. By using the director viewfinder in this way, the director can estimate the approximate camera position for the DP prior to the shoot.
2. LOCATION SCOUTING: Few independent productions have the benefit of a location scout.  By keeping a director viewfinder handy, the filmmaker can immediately test the composition of any cinematic location he stumbles upon.
3. DEVELOP DP SHORT CUTS: The director viewfinder can be set to any standard aspect ratios (Academy, TV-4X3, 1.66, 1.76-16X9, 1.85, 2.35, and 2.55) and formats (Film: S16, 35mm, Anamorphic and Video: 2/3”, 1/2″, 1/3”, Mini DV, 1/4″, 1/5”, 1/6”), so when the director finds his shot, he can immediately share the specifications of the shot with the DP by looking at the settings. This allows the DP to quickly delegate important information to his camera and grip teams.
4. SIMPLIFY GRIPS JOB: Film shoots can require multiple cameras, dollies, cranes, jib arms, etc. Having the grips set and shift each set-up until it’s close to the director’s vision tires the team and slows down the shoot. Ideally the equipment would only move once per set-up, which is easily facilitated by a director using his viewfinder.
5. PREPARE FOR A STUDIO PICTURE: Directors need to build skills and good habits that create productive conditions during a shoot. A director who burns $50-$500 an hour on a small production is typically more wasteful than a director working a studio picture, who uses a director viewfinder and burns through $5K-$50K per hour. He typically has a process or methodology that provides a highly creative and efficient environment.

Everyone knows that a writer must have software to properly write screenplays, but few understand the critical importance of the director viewfinder (and the director notebook). The viewfinder allows the director to pre-visualize the limits he places on the audience and allows his first step in translating the written word from the screenplay to a visual for the silver screen.

By carefully selecting the right series of images, the director is able to move the audience emotionally down the path of his choice. He is able to determine what they see and when they see it, making them vulnerable to his dramatic story. To that end, I started using a director viewfinder with my first directing job and found it to be a tool I couldn’t live without.

I have the Alan Gordon Mark IV director viewfinder (The latest version is the MarkVb) and the Opteka mini director viewfinder. While the glass is better on the Mark IV, the mini has the latest formats and aspect ratios. The mini is convenient to carry in my pocket when I don’t have my backpack handy. Prices range from $99 – $700+, depending on the features desired.

Copyright © 2013 by CJ Powers