![]() ![]() If you're doing this post-script, find those moments and do the same. A treatment should cover your key beats and act breaks. If you are writing this pre-script, look at your story-breaking material. Focus on the core story and character arcs. You can add some flavor and fancy writing, but it should be minimal. Don't write with an audience in mind, think of it as a brief for collaborators. This is a doc for people who want to MAKE the movie NOT to try and hook people into the concept. ![]() It is NOT a pitch, so there's no hyperbole, minimal hooking, and no secrets. ![]() Ask back: "Hey, what format do you like to see treatments in?" to save yourself some time.Ī TREATMENT, in my book, is a prose document, around 10ish pages, that tells your script's story in a simple, clear, thorough way, beginning to end. So my first piece of advice is, if you're asked for a treatment, get clarity. This is what I was taught, and I will give the caveat, that these could be considered "wrong" by some. The first issue is, the term TREATMENT can be confusing because it has become conflated frequently with SUMMARY, BEAT SHEET, OUTLINE, and other industry terms like "one-pager" and the despised "A WRITE UP." Add in personal style, and it's hard to say there's a right way. While not horror-specific, the act of presenting a screenplay's story in different formats is a huge part of the job that is hated, but generally required at some point. I was pulled into a conversation on Twitter about this today and figured I'd share my thoughts. ![]()
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