|What Is a Treatment? Share |
|The key to getting a deal in Hollywood is getting someone to read
a script. Since the industry is so personal, the sequence of events
in a "seller's" convincing a "buyer" generally
begins with a chance encounter or a telephone conversation in which
urgency is conveyed; and ending, ideally, with the buyer saying,
"Okay, send it over."
"Promise me you'll read it yourself."
"I promise," the buyer lies. "How long is it?"
"Okay, but do you have a treatment?"
Because the buyer rarely has time to read a screenplay without knowing
what he's about to read, the treatment very often becomes the second
important step in the sequence of selling a film.
When adult education courses advertise "sell your ideas to TV"
they mislead inexperienced writers who don't understand that the word
"idea" is being used loosely. The inexperienced writer doesn't
sell an idea. Instead, he writes his idea into a treatment, and tries,
after registering it with the Writers Guild of America (which will
register practically anything in written form), to get it into the
hands of an active film maker. Second only to writing an entire screenplay
or teleplay on "spec," your treatment is the best tool for
"getting in the door" and breaking into show business.
But the treatment is a strange animal, quite unlike any other kind
of writing. If a screenplay is the blueprint for a film, the treatment
is the blueprint for a screenplay. Yet there are as many blueprints
as there are architects, as many kinds of treatments as there are
writers. Treatments are, like screenplays or theatrical plays, a secondary
or "non-form" of writing. A treatment never gets produced,
or published (with the exception of treatments used as examples in
On top of all that, the word "treatment" is thrown around
loosely in the film and TV world and used from time to time by one
executive, writer, or business affairs person or another, to mean
variously a one-pager, a synopsis, an outline, or a coverage. None
of this confusion helps the "outsider" writer trying to
break into the business.
For the writer's purposes, what distinguishes one treatment from another
is its effectiveness in making the sale, and/or laying out the story.
Everything we say in this book is intended to assist the writer in
understanding and creating the treatment to serve one or the other,
or both, of these two crucial purposes:
For the sake of definition, a treatment generally varies in length
from 1 to 25 or more pages, depending on the kind of treatment it
is and upon its purpose. The treatment of One Night Stand that garnered
Joe Eszterhas $2 million was three pages long.
The typical treatment for a television movie is 7-20 pages; for a
feature film 10-25 pages.
Treatments are often called "one-pagers," "leave-behinds,"
"outlines," or "summaries."
Kinds of treatments
In both television and theatrical filmmaking, the three most common
kinds of treatments are:
- "Original dramatic treatments":
Treatments of dramatic stories invented by the writer.
- "Adaptation treatments":
Treatment by the present writer of a story by another writer.
A treatment for adapting "Little Women" might convince
a studio to develop a script for a remake.
- "Treatments of true stories":
Treatments that show how the writer would turn fact into drama, organizing
actual events into characters and a compelling story line.
The uses of treatments
The use of the treatment in today's motion picture and television
industries has expanded with the proliferation of cable programming,
expansion of video rentals, and the industry's acutely competitive
need for films and programs to fill home and theatrical screens. The
usefulness of the treatment is behind the scenes, in developing a
story; and/or in pitching it efficiently to filmmakers who might be
sold on making the writer's story into a film.
Treatments can be tremendously useful in helping the writer envision
the "overview" of his story, presenting the profile of the
"woods" in contrast to the varied texture of the "trees."
For a story editor or development executive, by the same token, the
treatment is a useful diagnostic tool for "getting the story
straight." By reading a short treatment, the editor obtains a
perspective that may be lost sight of when reading a faulty script.
The written pitch:
Nothing can take the place of a live pitch, where the writer dramatizes
his story to an attentive audience. But a written pitch is still needed
to assist in the next stage of the filmmaking process, where the story
is pitched again to the next person higher up along the chain of production.
When an oral pitch is impossible, a written pitch can do the job.
The treatment is "the written pitch."
It's not unusual for a treatment to be rewritten a half dozen different
ways, depending on the market it's being aimed at. The three primary
markets for treatments today are:
- for television;
- for the feature or "theatrical" motion picture;
- for Internet, CD Rom, and other electronic media.
Television continually demands program material that attracts targeted
audiences and gains high Nielsen ratings for its sponsors' advertising.
Movies for television (also known as Movies of the Week) and mini-series
based on best-selling books have become a major mainstay of prime
time programming among the competing broadcast television networks
and subscriber cable television. Yet a treatment written for pitching
to NBC, CBS, or ABC won't work with HBO, Lifetime, or Showtime. Formats
and demographic requirements are different for the various television
markets. Whether you're giving your treatment to a studio or to an
independent producer, it's headed eventually for a limited set of
buyers, each with its own specific needs:
- Broadcast television networks (ABC, CBS, NBC; Fox):
For ABC, CBS, and NBC, the primary audience is women; with each
network focusing on a different age group. Movies, interrupted
by commercial, must have act breaks to match the interruptions.
Broadcast Cable Networks are: A&E, CNN, Lifetime, TNT, USA.
The Subscriber Cable television networks are HBO, Showtime, Disney
Channel and Cinemax.
- Motion picture theater.
Feature film treatments, for the theatrical motion picture industry,
work across the board for any one of the studios, mini-studios,
or production companies.
- Interactive media, from CD Rom to the Internet.
As electronic publishing increases by leaps and bounds, programs
are being sold by treatments that allow their reader to visualize
how that program will "play out" in the new electronic
Treatment vs synopsis
"Synopsis" is a term used in the entertainment industry
to indicate a matter-of-fact summation of a story's plotline, a shorter
version of the longer work (whether that work is a novel, a nonfiction
book, a screenplay, or even a treatment). Think of the synopsis as
a more or less complete and detailed recitation of all the scenes
and events in a story, a condensed version of the plot. The synopsis'
purpose is to describe, not to sell. The treatment's purpose is to
sell, and that's why it's written with an intensity and urgency the
synopsis characteristically lacks.
Treatment vs coverage
"Coverage" is the industry term used to describe the descriptive
document provided by the story department readers for executives making
acquisition decisions in theatrical film and television. Occasions
for "coverage" include:
a script may be covered by a talent agency for casting purposes; by
an agency, for "packaging" (attaching talent); by a director,
actor, or actor's company to assess its suitability for involvement;
a production company, to assess its viability; as a writing sample,
to help someone determine whether the writer should be represented
For all these occasions, the typical coverage document for sample)
identifying information (name of story, name of writer, name of person
doing the coverage, type of story, etc.);
a "synopsis," as defined above;
a set of "comments" giving the reader's opinion of the cinematic
worthiness of the piece covered.
a rating chart, allowing the reader to rate the piece on characterization,
dialogue, (other elements).
example of coverage:
Type of Material: Screenplay
Type of Material: Script
The coverage reader's purpose is to report the strong and weak points
of a story as objectively and comprehensively as possible. But a treatment,
drawing its energy from its writer's personal enthusiasm, is not objective.
The coverage is retained in a company's computer for future reference.
Although an outstanding coverage is often used by writers, directors,
and producers as a selling tool, it's generally accompanied by the
treatment--the writer's vision of his story.
Treatment vs outlines
The words "outline" or "reblocking" are used to
describe a list of the scenes in a cinematic story. Outlines of this
kind are especially useful in the development process because they
reveal the flow of the scenes, without elaboration, at a glance. An
outline can be thought of as a skeleton treatment, a treatment stripped
of its flesh. Where a treatment may contain dialogue to dramatize
a particular moment, the outline will contain no dialogue. Basically,
it's a list:
Michele dashes toward a taxi.
Inside the taxi, she phones her office in L.A.
The taxi arrives in front of the Denver court house. She jumps out,
dashes up the stairs....