Fast Tricycle Streamers

The summer noontime sun pounded down on my dad, as he wiggled the new streamer handles onto my shiny red tricycle. I was overjoyed with how my trike looked, as the colorful streamers fluttered in the breeze. I couldn’t wait to get peddling down the sidewalk.

Tricycle“Ok, that does it,” said my dad, as he stood up and admired his work. “Be careful, these streamers will make your tricycle really fast.”

Awe struck my face, wondering if my tricycle might be as fast as my dad’s three-wheeler police motorcycle. I watched him put on his helmet, mount his three-wheeler, and rev the engine. He headed down the street and around the corner – Probably speeding to someone’s safety.

It was time for me to conduct a speed test with my super fast streamers. I started easy, peddling slow to gradually get accustomed to the new speeds. I hadn’t realized the wind had picked up and was at my back, but I did notice that my tricycle was getting faster, just like my dad said.

Thunder rumbled in the distance and I looked up at the dark sky. A storm was approaching and fear pelted my insides. I suddenly realized that I was getting too far from home and my streamers were now whipping in the breeze. The sidewalk underneath my trike raced by. My nerves got the best of me.

I took my feet off the peddles in hopes that my trike would slow down, but my fast streamers pushed me forward at a greater speed, as if I was being pushed by a strong gust of wind. Not being able to slow down, I turned my handlebars to circle around, but the speed was so great my trike flipped and tossed me onto the concrete. My legs and arms were scraped raw in the fall.

The sky turned a dark pea green and an eerie calm brought an end to the wind. The hair on the back of my neck stood on end. I looked at my house and watched the porch screen door bang open. My mom leaned out the door and shouted, “Hurry! Get inside now!”

I quickly mounted my tricycle and started peddling. I knew the fast streamers would get me back quickly. I peddled as fast as I could, but suddenly felt a blast of wind from my back propelling me even faster. My feet slipped off the pedals and I lost control of the trike.

I steered toward the stone driveway and cut around a large tree. The uneven ground tipped the trike, tumbling me onto the gravel. Pain soared through every inch of my small frame. When I stopped rolling, I looked up into the dark green sky and saw the clouds circle. A long tail started to drop down from the sky and I could barely hear my mom’s cry, “Leave your tricycle! Get inside!”

Fear flooded my heart as my mom struggled to keep the screen door open. I ran toward the porch, but my shoe clipped the sidewalk and I crashed into the steps. I was pulled up into the porch by the collar of my shirt. Mom raced me down into the basement and slammed the door, but I could hardly hear it close over the din of what sounded like a rushing train over our house.

A couple hours later, I stood in the driveway looking at my trike. It was trapped under a large fallen branch. One of the fast streamers was torn from the handle and mangled in another branch several feet away. The other one was still attached, but crushed. My mom tried to comfort me with the suggestion of shopping for new streamers, but I didn’t want anything to do with it.

I was no longer interested in a fast trike. I was determined to wait until I was much older before trying fast streamers again. My mom didn’t understand my response about speed, but she thought a piece of watermelon might help take the edge off of our storm experience. I happily headed inside.

Copyright © 2013 by CJ Powers

12 Steps in Crafting A Treatment that Sells

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.

Woman reading a treatmentToday, 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 Hangout – Sundance 2013

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…