By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
A movie treatment example can teach the art of movie treatment writing through example - more quickly and thoroughly than years of theoretical class-room drilling. Writing treatments for movies is a practical exercise and cannot be learned via the medium of cramming knowledge contained within the covers of a textbook. Instead, if the writer is taught the basics of treatment writing, then given examples to observe and evaluate, there is bound to be a phenomenal positive difference in his learning curve. In fact, the more number of examples the person studies, the better his or her knowledge will be. A movie treatment example is a visual form of educating a creative writer.
Movies are motion pictures that convey a story. During the process of script writing for movies, treatment writing is one of the important steps. Aspiring screenplay writers often undergo formal training to compose movie treatment, which can assist the writer to stay focused and not skip any pivotal element of his story. The movie treatment also helps to market the idea and eventual screenplay. A movie treatment example is a model that helps screenwriters write their own treatment. A professional movie treatment example will contain all the aspects and industry norms regarding the following:
� The format
� Its ideal length
� Terminology
� The structure, accentuation on certain points and bare reference to others
� Information to be included
� Language and grammar to be used
� Ways to make it as compelling and enjoyable as possible
� Its physical look, efficient use of white space
The function of a movie treatment example does not end there. It helps to generate novel ideas for the writer's own work. It gives him an insight into how he can do a more refined job. By observing the flaws, if any, the writer will naturally be induced to seek methods of plugging or omitting them altogether. He may also incorporate the aspects that he likes into his own treatment. This is an invaluable source of learning.
Some of the places that a writer is most likely to find good examples are:
� Local libraries
� The Internet
� Large production houses, studios, agents
� Libraries of institutes running courses on performing arts and creative writing
The basic concepts that the writer had earlier imbibed will stand him in good stead now. He can visualize the theoretical concepts and give them a practical shape. The movie treatment example will act as a beacon of guiding light through the intricacies of the trade. The writer must try to read many examples but specially those which have had success to back them. Treatments of movies that have been hit at the box-office will definitely be worthy examples. A writer ought to create the same distinctiveness in the treatment he proposes to pen or bring improvement to his existing style of dealing with treatments. By comparing others' work with his own he can formulate plans to polish his literary skills.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Movie-Treatment-Example&id=6613716] Movie Treatment Example
Thursday, November 24, 2011
Tuesday, November 22, 2011
Writing Film Treatments
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
Novices in the film treatment business must become adept at writing film treatments. Nurturing an idea is insufficient for imbuing it with life on the silver screen. You have to first put it down on paper and, keeping your fingers crossed, hope that it attracts the attention of a producer or an agent. A film is a motion picture captured by a camera using live characters, animation or visual effects given by the use of computers. Film making has evolved into a highly specialized form of art and a major industry today. The artistic, theoretical or the technical aspects are recorded in films that are a series of individual frames, creating an illusion of continuous movement. Writing film treatments requires fair amount of technical knowledge about the subject.
Creating treatments for films is a skilled job. The two main purposes that they serve include:
1. Marketing tool - Film makers, producers and agents receive hundreds of screenplays to read and evaluate. Going through so much of literature just to pick the best, is a task that most executives find a time-waster. Instead, were they to be provided with a general synthesis of each screenplay, it would simplify their work. A treatment is the first written manuscript of the film and has to be crafted flawlessly to make a good impression on the readers and potential investors. If the readers are suitably stirred, they may buy the idea (in the treatment stage) or ask for the longer version, the completed script. Either way you stand to gain financially by writing film treatments.
2. Diagnostic tool - Once an idea is found palatable through a pitch presented by the writer, he is asked for a written description of how he plans his film to run. A concise beginning, middle and end, with the basic introduction to the important characters give the decision-makers inkling as to if the feasibility of the project. They look closely at the different aspects of the intended film, such as the storyline, funds required, number of locations, characterizations and most importantly, the probable reaction of the viewers. The writers too can find out the viability of their idea. By writing film treatments, writers get to see the possible errors or breaks in the smooth flow of their stories. They can take corrective actions before proceeding to the next step - writing of the long script.
In order to make your treatment a page-turner, pay attention to a few points while compiling and presenting it:
� Do not forget to include all the important elements of the story that affect its rhythmic flow.
� There is not necessity of inclusion of dialogues unless they play a pivotal role in the film.
� Writing film treatments should be done in present tense, maintain an active voice.
� Be brief. Readers are running against time, so refrain from boring them to tears by lengthy details.
� There are certain fixed formats that the individual executive wants in the treatment you submit. Ask them about it before handing in your work for approval.
� To avoid any controversy at a later date, register your treatment with an authoritative body such as the Writers Guild of America.
Those writing film treatments may want to consider hiring a film treatment writer. Most screenplays and treatments are collaborative efforts. Collaborating offers the advantage of having multiple perspectives. It is helpful to receive feedback about what is working, what is not, and what is unclear or underdeveloped.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-Film-Treatments&id=6613724] Writing Film Treatments
Novices in the film treatment business must become adept at writing film treatments. Nurturing an idea is insufficient for imbuing it with life on the silver screen. You have to first put it down on paper and, keeping your fingers crossed, hope that it attracts the attention of a producer or an agent. A film is a motion picture captured by a camera using live characters, animation or visual effects given by the use of computers. Film making has evolved into a highly specialized form of art and a major industry today. The artistic, theoretical or the technical aspects are recorded in films that are a series of individual frames, creating an illusion of continuous movement. Writing film treatments requires fair amount of technical knowledge about the subject.
Creating treatments for films is a skilled job. The two main purposes that they serve include:
1. Marketing tool - Film makers, producers and agents receive hundreds of screenplays to read and evaluate. Going through so much of literature just to pick the best, is a task that most executives find a time-waster. Instead, were they to be provided with a general synthesis of each screenplay, it would simplify their work. A treatment is the first written manuscript of the film and has to be crafted flawlessly to make a good impression on the readers and potential investors. If the readers are suitably stirred, they may buy the idea (in the treatment stage) or ask for the longer version, the completed script. Either way you stand to gain financially by writing film treatments.
2. Diagnostic tool - Once an idea is found palatable through a pitch presented by the writer, he is asked for a written description of how he plans his film to run. A concise beginning, middle and end, with the basic introduction to the important characters give the decision-makers inkling as to if the feasibility of the project. They look closely at the different aspects of the intended film, such as the storyline, funds required, number of locations, characterizations and most importantly, the probable reaction of the viewers. The writers too can find out the viability of their idea. By writing film treatments, writers get to see the possible errors or breaks in the smooth flow of their stories. They can take corrective actions before proceeding to the next step - writing of the long script.
In order to make your treatment a page-turner, pay attention to a few points while compiling and presenting it:
� Do not forget to include all the important elements of the story that affect its rhythmic flow.
� There is not necessity of inclusion of dialogues unless they play a pivotal role in the film.
� Writing film treatments should be done in present tense, maintain an active voice.
� Be brief. Readers are running against time, so refrain from boring them to tears by lengthy details.
� There are certain fixed formats that the individual executive wants in the treatment you submit. Ask them about it before handing in your work for approval.
� To avoid any controversy at a later date, register your treatment with an authoritative body such as the Writers Guild of America.
Those writing film treatments may want to consider hiring a film treatment writer. Most screenplays and treatments are collaborative efforts. Collaborating offers the advantage of having multiple perspectives. It is helpful to receive feedback about what is working, what is not, and what is unclear or underdeveloped.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-Film-Treatments&id=6613724] Writing Film Treatments
Sunday, November 20, 2011
Writing A Script Treatment
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
By writing a script treatment for a film, documentary, or TV show, the script treatment writer tries to convince people that the show deserves to be made. It is the condensed form of the proposed show for the entertainment industry, covering the rudiments of the concept, characters, locations and the story in its broadest form. A treatment is not a synopsis or an outline, but rather an extended form of the same, written with a different purpose altogether.
Some script writers find it convenient to start writing a script treatment before they begin to work on the screenplay while others start with the script and then proceed to the treatment. Whatever method suits you is good enough but writing a treatment is a step that cannot be side-tracked. This is a must because a treatment assists the writer to stay focused. It acts as a roadmap, guiding the process of crafting the entire screenplay.
Writing a script treatment helps to market the idea of the story. The first written document that the executives in the production companies get to read is the treatment. The treatment decides the fate of the screenplay. Be sure to include the chief elements in the script:
� The subject of the story
� The main conflict - why the hero and the villain are on loggerhead terms
� The action sequence and the locations of each
� All the characters
� The climax - confrontation between the villain and the hero
� The resolution - triumph of the good over the evil
It is important to give a short description of the characters, how they interact with one another and the role they play in moving the story forward. Writing a script treatment necessitates recounting of the climax of the story where the villain and the hero engage in a physical or verbal tussle. How the protagonist emerges victorious over the antagonist is also to be clearly narrated in the treatment.
Writing a script treatment is a fast method to test out an idea before plunging into composing the lengthy screenplay. The audience has to be pampered. The writer must write in view of the likes and dislikes of the spectators. A treatment will show up any flaws or loopholes in the intended screenplay that can be plugged and proceed only after that. In this way the writer can perform better and be sure to reach the hearts and minds of the audience.
Brevity holds the key to compiling successful treatments. A few pages are all that should form the treatment that you hand over to the executives for evaluation. The cover page must contain all the contact information of the writer, the title, WGA registration number and a catchy logline. Use active voice, present tense and easy to read font. Just answer the questions of who, what, when, how, why and where about your screenplay and you will have a treatment par excellence in your hands.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-A-Script-Treatment&id=6613728] Writing A Script Treatment
By writing a script treatment for a film, documentary, or TV show, the script treatment writer tries to convince people that the show deserves to be made. It is the condensed form of the proposed show for the entertainment industry, covering the rudiments of the concept, characters, locations and the story in its broadest form. A treatment is not a synopsis or an outline, but rather an extended form of the same, written with a different purpose altogether.
Some script writers find it convenient to start writing a script treatment before they begin to work on the screenplay while others start with the script and then proceed to the treatment. Whatever method suits you is good enough but writing a treatment is a step that cannot be side-tracked. This is a must because a treatment assists the writer to stay focused. It acts as a roadmap, guiding the process of crafting the entire screenplay.
Writing a script treatment helps to market the idea of the story. The first written document that the executives in the production companies get to read is the treatment. The treatment decides the fate of the screenplay. Be sure to include the chief elements in the script:
� The subject of the story
� The main conflict - why the hero and the villain are on loggerhead terms
� The action sequence and the locations of each
� All the characters
� The climax - confrontation between the villain and the hero
� The resolution - triumph of the good over the evil
It is important to give a short description of the characters, how they interact with one another and the role they play in moving the story forward. Writing a script treatment necessitates recounting of the climax of the story where the villain and the hero engage in a physical or verbal tussle. How the protagonist emerges victorious over the antagonist is also to be clearly narrated in the treatment.
Writing a script treatment is a fast method to test out an idea before plunging into composing the lengthy screenplay. The audience has to be pampered. The writer must write in view of the likes and dislikes of the spectators. A treatment will show up any flaws or loopholes in the intended screenplay that can be plugged and proceed only after that. In this way the writer can perform better and be sure to reach the hearts and minds of the audience.
Brevity holds the key to compiling successful treatments. A few pages are all that should form the treatment that you hand over to the executives for evaluation. The cover page must contain all the contact information of the writer, the title, WGA registration number and a catchy logline. Use active voice, present tense and easy to read font. Just answer the questions of who, what, when, how, why and where about your screenplay and you will have a treatment par excellence in your hands.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?Writing-A-Script-Treatment&id=6613728] Writing A Script Treatment
Friday, November 18, 2011
Screenwriting Tips: Flashbacks
By [http://ezinearticles.com/?expert=Jacob_Krueger]Jacob Krueger
Flashbacks can be extraordinarily powerful storytelling devices. But they're also dangerous territory for young writers. For this reason, many screenwriting gurus insist on rigid rules that scare young writers away from using flashbacks at all.
While that will definitely keep you out of trouble, it probably won't bring out your best writing either.
So if flashbacks are calling you, there's nothing wrong with dancing with the devil in your writing. Just make sure you understand him first.
Here are the top three reasons why flashbacks can be dangerous for young writers:
Reason #1: Movies move! And a lot faster than you think.
Generally, when movies are working, they're hurtling forward at a breakneck pace, propelling your character on the most powerful journey of his or her life in a mere 100 pages.
Flashbacks can stop this forward motion and reverse the momentum of your story, driving your character's journey backwards when you want it to be moving forwards.
Imagine if you were driving your car at 100 miles per hour, and suddenly slammed it into reverse. That's exactly the effect that a poorly executed flashback has on a screenplay-killing the transmission just when things were finally starting to get moving.
Reason #2: Exposition Is Boring
Nine times out of ten, flashbacks exist in a movie purely to explain stuff to the audience. We call this stuff exposition, and it absolutely kills drama.
No matter how exciting the content of your flashback may seem, if it exists only to explain stuff to the audience, it's probably not going to have the effect you intended.
Audiences come to movies to watch drama-a character pursuing something they desperately want in the face of seemingly insurmountable obstacles-not to find out information about stuff that happened a long time ago.
Watching a movie filled with expository flashbacks is the equivalent of having an annoying friend whispering in your ear the whole time, explaining why things are happening, instead of just letting you experience the character's journey.
Reason #3: If You're Focused On The Audience, You're Not Focused On The Character.
Even more dangerous than the problems flashbacks can pose for your audience is the confusion they can create for you as a writer.
Whether you're working on your first script or your hundredth, the biggest challenge of every screenplay is the same-creating the most powerful journey you can for your character.
This means stepping into your character's world, and seeing the story through your character's eyes. Which is impossible to do if you're spending all your time thinking about the audience.
Most likely, your character is well aware of his or her past. And if he or she spends all her time moping about it, the chances are they're not going to go on much of a journey.
Unless your character is a time traveller, his or her journey can only happen in the present-since it's only in the present that your character can make choices that matter. In the words of Shakespeare, "what's past is prologue." The past is inherently undramatic, because there is nothing the character can do to change it.
By depending on flashbacks young writers often unwittingly rob themselves of the opportunity to dramatize the character's journey in the present.
Because flashbacks by their very nature interrupt the flow of your story, they can trick you into thinking your character is changing, when they are actually treading water. It seems like so much dramatic action is happening-but actually what the audience is experiencing is a bunch of smoke and mirrors. The movie isn't happening. It's already happened.
By abstaining from flashbacks, you force yourself to make the past present-to keep your eye on the journey of your main character, and to dramatize the action of his or her journey in the present day story, rather than relying on flashbacks to create the feeling of drama for you.
Flashbacks Are Dangerous. But That Doesn't Mean You Should Fear Them.
It's true that flashbacks can be hostile territory for young writers. But there's no doubt that some of the greatest movies ever could never have been written without them. The best writers know they don't have to fear flashbacks. They simply need to find ways to use them that enhance their character's present day journeys.
Ready To Take The Next Step?
Sign up for a Screenwriting Workshop today and learn the skills you need to mine for the good stuff, in a supportive community of writers just like you.
Be brave. You owe it to yourself.
Classes are held in the New York City Area but can also be taken online.
FALL WORKSHOP: A Eight Week Screenwriting Workshop, Monday Nights 7-10pm (Begins October 17th)
More Information:
Web: http://www.jacobkrueger.com
Phone: 917-464-3594
Happy Writing!
Jacob Krueger
Article Source: [http://EzineArticles.com/?Screenwriting-Tips:-Flashbacks&id=6616251] Screenwriting Tips: Flashbacks
Flashbacks can be extraordinarily powerful storytelling devices. But they're also dangerous territory for young writers. For this reason, many screenwriting gurus insist on rigid rules that scare young writers away from using flashbacks at all.
While that will definitely keep you out of trouble, it probably won't bring out your best writing either.
So if flashbacks are calling you, there's nothing wrong with dancing with the devil in your writing. Just make sure you understand him first.
Here are the top three reasons why flashbacks can be dangerous for young writers:
Reason #1: Movies move! And a lot faster than you think.
Generally, when movies are working, they're hurtling forward at a breakneck pace, propelling your character on the most powerful journey of his or her life in a mere 100 pages.
Flashbacks can stop this forward motion and reverse the momentum of your story, driving your character's journey backwards when you want it to be moving forwards.
Imagine if you were driving your car at 100 miles per hour, and suddenly slammed it into reverse. That's exactly the effect that a poorly executed flashback has on a screenplay-killing the transmission just when things were finally starting to get moving.
Reason #2: Exposition Is Boring
Nine times out of ten, flashbacks exist in a movie purely to explain stuff to the audience. We call this stuff exposition, and it absolutely kills drama.
No matter how exciting the content of your flashback may seem, if it exists only to explain stuff to the audience, it's probably not going to have the effect you intended.
Audiences come to movies to watch drama-a character pursuing something they desperately want in the face of seemingly insurmountable obstacles-not to find out information about stuff that happened a long time ago.
Watching a movie filled with expository flashbacks is the equivalent of having an annoying friend whispering in your ear the whole time, explaining why things are happening, instead of just letting you experience the character's journey.
Reason #3: If You're Focused On The Audience, You're Not Focused On The Character.
Even more dangerous than the problems flashbacks can pose for your audience is the confusion they can create for you as a writer.
Whether you're working on your first script or your hundredth, the biggest challenge of every screenplay is the same-creating the most powerful journey you can for your character.
This means stepping into your character's world, and seeing the story through your character's eyes. Which is impossible to do if you're spending all your time thinking about the audience.
Most likely, your character is well aware of his or her past. And if he or she spends all her time moping about it, the chances are they're not going to go on much of a journey.
Unless your character is a time traveller, his or her journey can only happen in the present-since it's only in the present that your character can make choices that matter. In the words of Shakespeare, "what's past is prologue." The past is inherently undramatic, because there is nothing the character can do to change it.
By depending on flashbacks young writers often unwittingly rob themselves of the opportunity to dramatize the character's journey in the present.
Because flashbacks by their very nature interrupt the flow of your story, they can trick you into thinking your character is changing, when they are actually treading water. It seems like so much dramatic action is happening-but actually what the audience is experiencing is a bunch of smoke and mirrors. The movie isn't happening. It's already happened.
By abstaining from flashbacks, you force yourself to make the past present-to keep your eye on the journey of your main character, and to dramatize the action of his or her journey in the present day story, rather than relying on flashbacks to create the feeling of drama for you.
Flashbacks Are Dangerous. But That Doesn't Mean You Should Fear Them.
It's true that flashbacks can be hostile territory for young writers. But there's no doubt that some of the greatest movies ever could never have been written without them. The best writers know they don't have to fear flashbacks. They simply need to find ways to use them that enhance their character's present day journeys.
Ready To Take The Next Step?
Sign up for a Screenwriting Workshop today and learn the skills you need to mine for the good stuff, in a supportive community of writers just like you.
Be brave. You owe it to yourself.
Classes are held in the New York City Area but can also be taken online.
FALL WORKSHOP: A Eight Week Screenwriting Workshop, Monday Nights 7-10pm (Begins October 17th)
More Information:
Web: http://www.jacobkrueger.com
Phone: 917-464-3594
Happy Writing!
Jacob Krueger
Article Source: [http://EzineArticles.com/?Screenwriting-Tips:-Flashbacks&id=6616251] Screenwriting Tips: Flashbacks
Wednesday, November 16, 2011
How To Write A Reality TV Show
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
Learning how to write a reality TV show is crucial to screenwriting success because reality TV shows have become increasingly popular. Reality shows are a genre of TV programs that document actual events and feature ordinary people instead of luminary actors and actresses. There is a wide range of programs that fall under this category, mainly quiz or game shows and elimination contests that are unscripted dramatic situations, which culminate in awarding the winner. A sense of excitement is kindled among the audience, ramping up the advertising profits.
The participants are placed in a special setting and are often coached to act in a certain way or say something that is pre-planned, creating an illusion of reality. Mastering how to write a reality TV show is an art that has to be honed through experience. One may get the impression that since reality shows are mostly unscripted, learning how to write a reality TV show must be simple. Nothing could be further from the truth. Letting the cameras roll does not produce a TV show of this nature. Writing a pre-meditated plan will create a successful finished product. Consider the following:
� Plan what your reality show is going to be about. Will it be a dating show? Will it focus on a particular profession, age group, gender, or a segment of the society? Will the contestants be required to complete certain tasks?
� Conduct some research about similar shows of the past. See what made them hits or misses. If a particular theme has been dealt with too many times, the chances are that it will not be readily appreciated by the viewers again.
� Once the concept is ready, it is time to get down to putting it on paper. You will need to write the logline, summary, and treatment. All the three help you to understand how to write a reality TV show.
� The logline is a sentence long description of the intended reality show.
� A page long portrayal of the show is called the summary.
Apart from the completed script, the treatment is the longest document you will be preparing for the reality program. In the treatment, mention the following:
� how your show will work
� an overview of each episode
� how it is expected to wrap up - the grand finale
� number of contestants and who they will be
� where it will be filmed
� framework of the challenge posed
Everything that occurs cannot be predicted in a reality show, even though you are composing the overview with how to deal with the eventualities. Most of the writing work for a reality show takes place in the editor's room after the filming. If you want to become an expert at how to write a reality TV show, learn the rules before hand and make sure to rewrite and gain feedback.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?How-To-Write-A-Reality-TV-Show&id=6613810] How To Write A Reality TV Show
Learning how to write a reality TV show is crucial to screenwriting success because reality TV shows have become increasingly popular. Reality shows are a genre of TV programs that document actual events and feature ordinary people instead of luminary actors and actresses. There is a wide range of programs that fall under this category, mainly quiz or game shows and elimination contests that are unscripted dramatic situations, which culminate in awarding the winner. A sense of excitement is kindled among the audience, ramping up the advertising profits.
The participants are placed in a special setting and are often coached to act in a certain way or say something that is pre-planned, creating an illusion of reality. Mastering how to write a reality TV show is an art that has to be honed through experience. One may get the impression that since reality shows are mostly unscripted, learning how to write a reality TV show must be simple. Nothing could be further from the truth. Letting the cameras roll does not produce a TV show of this nature. Writing a pre-meditated plan will create a successful finished product. Consider the following:
� Plan what your reality show is going to be about. Will it be a dating show? Will it focus on a particular profession, age group, gender, or a segment of the society? Will the contestants be required to complete certain tasks?
� Conduct some research about similar shows of the past. See what made them hits or misses. If a particular theme has been dealt with too many times, the chances are that it will not be readily appreciated by the viewers again.
� Once the concept is ready, it is time to get down to putting it on paper. You will need to write the logline, summary, and treatment. All the three help you to understand how to write a reality TV show.
� The logline is a sentence long description of the intended reality show.
� A page long portrayal of the show is called the summary.
Apart from the completed script, the treatment is the longest document you will be preparing for the reality program. In the treatment, mention the following:
� how your show will work
� an overview of each episode
� how it is expected to wrap up - the grand finale
� number of contestants and who they will be
� where it will be filmed
� framework of the challenge posed
Everything that occurs cannot be predicted in a reality show, even though you are composing the overview with how to deal with the eventualities. Most of the writing work for a reality show takes place in the editor's room after the filming. If you want to become an expert at how to write a reality TV show, learn the rules before hand and make sure to rewrite and gain feedback.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK http://ScreenwritersForHire.Com/
Article Source: [http://EzineArticles.com/?How-To-Write-A-Reality-TV-Show&id=6613810] How To Write A Reality TV Show
Monday, November 14, 2011
How To Hire A Screenwriter If You Are An Independent Producer or Person With An Idea
By [http://ezinearticles.com/?expert=Scott_H_Morgan]Scott H Morgan
How to Hire the Right Screenwriter
An inside Look At Deal Making
Welcome to the world of screenplay writing and producing. I have divided my information on linked web pages so that you can focus on one aspect of hiring a writer to reach your goals and be produced, then move on to the other aspect. There is no one "right way" to hire the best screenwriter, but there are hundreds of "wrong ways" warnings. You want your investment of time, money, and trust to be honored and result in a winning script. While paranoia is not helpful, awareness and realism is most beneficial.
The following pages cover an abundance of useful and sometimes deal-making secret information. I wrote it for one reason: to give you a better chance at not only hiring the best writer you can afford, but also in selling your script. The topic headings might help you navigate to whatever you most urgently need answered.
The Entertainment Marketing Arena
It is hard enough within "Hollywood" to hire the right screenwriter when you have all the connections. For someone that does not make the Entertainment Industry the center of his or her universe, the challenge might seem at times ludicrous, other times frustrating and intimidating. And of course we all hear stories of people being flat out ripped off! While films on Hollywood and the various TMZ type news media could make you think the Industry is nothing but con men, sycophants, and egotists, there are actually fewer instances of betrayal (especially related to writing) than you think. The various Guilds, legal limits put on producers and agencies, and believe it or not "reputations" make most screenplay deals very standardized and simple to complete without being totally taken advantage of... well, in 95% of the deals. But that percentage is just when focusing on whether or not a story is stolen or a writer is truly "chumped" or "rolled" for his investment money. The WGA investigated only 10 script in one year out of 70,000. That puts the odds of your story being ripped off at.012%. Protect yourself by registering it with the WGA, of course, but also realize that there are plenty of stories out there that producers don't need to steal. Your greater threat is really just ending up with a mediocre-to-bad script, or a script with no marketing value.
The various degrees of your potential frustration possibly comes from not knowing how to navigate the usual Hollywood system. It's like any unfamiliar business world (like stock investment or the court system.) There are procedures, and ways to lose your investment. Better reps and worse reps. Agents and lawyers provide a valuable service to protect the clients - yet can turn that against newcomers or the "desperate" to structure deals that favor their other clients, and not the screenwriter or original team. Remember, they will make far more money off so being loyal to a studio or exec than to their writer, and so on a small percentage of deals there is a conflict of interest. But that is just competition and survival of the fittest. At its core, a producer's job is to increase the value of his deal at the expense of others. He grinds costs down then splits the profits with the networks, studios, theaters, and distributors. That is why it is important to know someone who can guide you, co-write with this person if possible, and learn while you strive for a real deal.
The system by which screenplays are written, formatted, promoted, rewritten, repped, protected, and compensated formed into what it is today for a reason: each film launch is no different than opening up the biggest restaurant in town. The chef (director) and owner (producer) must please a fickle pubic with an opening night equal to building a theme park in 180 days. There is so much at stake that the system must respect the writer while protecting the investor and rewarding the public. It's a tricky cocktail of goals, to say the least. For this reason, as many variables as possible need to be taken out of the formula. That is why contracts and screenplay format are standardized. It is also why contracts and script submissions favor the producer or studio, for they are risking the money.
In the last year, two factors materialized that changed script submissions dramatically: the Internet became a source of creative initiative and power, and Studios and banks lost their collective asses in the economic collapse. The Internet makes it possible to connect with audiences on a level that can make them part of the movie and marketing, and it enables a producer to hire crews for low budget films or television. If you plan to go it on your own, there are ways to hire your own people. Craig's List is a hub for the Entertainment community. And searches allow producers to find locations, local actors, and also script writers that do not always go through their reps to be hired.
On a completely different level, the digital camera has made the job of filming cheaper, but also the competition ten times greater. This last year, there were almost exactly 10 times as many Indie films going after a limited number of distributors. The quality of films are down, because the audiences don't need the beauty of Witness or Silence of the Lambs. And some micro-budget hits like Paranormal make every think they can release a super hit. These are exceptions, not the rule. You still need a script worthy of bankable actors and directors.
The producer in this case when you are hiring a writer is YOU. What follows are general factors and facts to consider when seeking a writer for hire for your screenplay or television series. While I do admit that there are exceptions to these examples, and that I do make mistakes, overall what I write will hold up as true.
Your Competition
The WGA presents the numbers each year on how many screenplays were registered, and how many were sold or optioned. I have seen the number of scripts registered hover between 70-105,000 per year. And the number of scripts that signatories to the Guild spent money on might number 350-1,000 any year. It might look like you have a one-in-three-hundred chance of being paid some money for your script, but the numbers are deceiving. Most screenplay sales or options are run through the biggest agencies because they have the "attachments" of actors and directors. If you are not repped by one of the Big Five, then odds against you go up. But then, there is another statistic that ends up being in your favor.
One other way to look at the chances of your script being bought is to think that there are only 40 or so companies with enough juice to really move multiple projects to production, maybe more, but the number is lower than most people think. Each company has about 1-3 scripts a day to read. In a year they move on maybe 15. So, out of 1,000 scripts, 15 new writers might be entertained. But many of these come from writers already produced and popular. Sounds dismal, eh? That is all the more reason why you need to hire the best in the business, and someone who has access or plans on marketing your project with and for you.
The truth is that most screenplays are obviously rejects by reading only the first 15 pages, and a good percentage more are almost "unreadable." All readers will tell you that. These readers have been hired by companies to read script submissions. Scripts come in with such bad spelling, sentence structure, and logic that no one could decipher them. Many scripts feature a story that is trite and so common that it could never hold the audience attention. Other scripts seem to be written by people with a distorted view of the world they live in. Nothing makes sense or is justified. I in fact had one script come from a lunatic in an asylum who would call me from the doctor's office when he would sweep it at night. He claimed he was the doctor. His script? Pure paranoid delusions. But most commonly, the majority of the other scripts are too boring or unoriginal to make money back or any fame for the producer.
Then there are the formatting errors. There is a very specific format governing script writing. It exists for a reason. In the proper format, and only in the proper format, the readers know how many minutes in film time passed, others can flag all the props, Line Producers schedule dates and costs, rewrites become manageable, etc. So the need to follow the proper screenplay formatting proves essential. And one more fact you need to know: often times the first person reading your script is told, "If it deviates from the formula or format, toss it in the trash."
The final odds against you come in the form of "formula" that must be followed through the story line of the script. Screenplays, tv pilots, and Bibles for television must all follow a formula. This formula presents the heroes or main characters in a time line and manner that pleases audiences. The formula consists of Wise Old Man meeting the hero by a certain page, and many other key timing targets. It also shows the Point of No Return, Inmost Cave, and other primary turning points in a script. This all comes from a work written long ago called The Hero With A Thousand Faces. It is based on mythology stories.
Aside from that formula, there are a number of "special or secret" characteristics of a "marketable script."
Back to "your competition"...
The good thing about the rules and the high number of scripts competing with your script isn't to fill you with dread, it is to enlighten and then to encourage you.
If you team up with a skilled writer, he will know about the WGA, the rules, the formatting, the formula, and also how to put 80% of all other scripts far below yours, so that you really are only competing with 20 to 1 odds, or even 50 to 1 odds in getting in the door with a production company. That sure beats 1,000 to 1 odds.
In the end, you want to be confident that there is nothing wrong with your script in a "professional submission" sense. If it gets rejected it is not due to a technicality. It is due to other issues. What are these issues? Maybe the producer already has a script with a story like yours. Maybe another studio has Tom Cruise starring in a similar movie. I had one great script rejected only because the owner of the company hates any movie with a dream as a catalyst. A man going through a divorce might read a great script with a strong female lead and reject it because he is bitter. You never know. Yet you did know your script was formatted right and hit all the action points properly. So the rejection was personal, not universally damning of the work.
Now, the above are the basic things to know about the submission process, and what helps a script survive the first levels of approval.
I would like to end this chapter with one final point. There are two elements that raise the appeal of a script to the level where there is widespread appeal and competition for it among producers, stars, and agencies. These two element are: WRITING STYLE and HIGH CONCEPT.
A high concept script with a hot new hook to it, poorly written, will usually have an easier time selling than an outstanding script (say, a drama) that has no flashy angle to it or ways to put butts in seats off of the trailer. A top actor is of course one way, but they are limited. Style of writing (being excellent) is the main element that makes this script one that can sell and be produced because with luck and connections it can get to these actors. It is a harder road to travel usually because it requires a key actor or some angel investor to make it happen. A high concept script has many ways it can get "heat" that leads to financing.
Outstanding writing style in screenplays takes a blend of true talent as a writer, and an awareness of what the Industry and audience craves to watch on screen - and all this is worthless without the element of "marketing" applied to the style and scenes. It means learning what levitates a story/script up from "very good" to "really exciting or moving or hilarious." It's style... a talent or gift, most of the times honed by years of experience, but not always. Some first time scripts are amazing. Not many, though.
Now about that marketing angle of film financing. "How many great trailer moments jump off the page of this script?" "What is this film "about" in a Director sense of the word?" "How easy is it to cast with bankable stars?" "What other businesses might share in the advertising costs?" All these are factored in, and a top writer like myself knows how to make sure your final script has as many of these improvement points in it as possible.
CONCLUSION
As much as it's not cool to point out wrongs or the failings of the ways you might search for a writer, I need to do that to properly warn you about many misleading practices you might face.
When you type in "Screenwriter for Hire" on Google, the same sites competing with me pop up. They fall into a few categories. 1) Writing hubs that list ads for writers along with ads for companies paying them for advertising space; 2) Companies that hire freelance writers from around the country and they farm out your work to people you might never meet or talk to; 3) Individual writers of various degrees of talent, who might or might not specialize in your genre of screenplay, most of whom do not live in Hollywood. There are only one or two sites that offer writing by a produced writer, and these writers charge close to WGA prices for their writing services (over $50,000.) There might be a few exceptions to these people that I have not studied, but overall you need some guidelines to separate the good from the bad.
Good luck in your search for a writer. It's not easy. But, you will feel it in your gut when you click with the talented person that cares about your goals as much as he does about the money you pay him.
I am an award-winning Writer-Director. I've seen it all. But what elevates my understanding above other writers most of all is that I was mentored by two of the most brilliant legends in Hollywood. Both taught me how to write better screenplays. But one of them, Barry London, former head of Paramount, taught me the real art of deal making and how it should improve script writing. It's all about Marketing now. I spent a year designing all the blogs that will increase your knowledge about how to hire a screenwriter, and the challenges we meet. I hope you learn a lot and enjoy the stories.
Article Source: [http://EzineArticles.com/?How-To-Hire-A-Screenwriter-If-You-Are-An-Independent-Producer-or-Person-With-An-Idea&id=6002396] How To Hire A Screenwriter If You Are An Independent Producer or Person With An Idea
How to Hire the Right Screenwriter
An inside Look At Deal Making
Welcome to the world of screenplay writing and producing. I have divided my information on linked web pages so that you can focus on one aspect of hiring a writer to reach your goals and be produced, then move on to the other aspect. There is no one "right way" to hire the best screenwriter, but there are hundreds of "wrong ways" warnings. You want your investment of time, money, and trust to be honored and result in a winning script. While paranoia is not helpful, awareness and realism is most beneficial.
The following pages cover an abundance of useful and sometimes deal-making secret information. I wrote it for one reason: to give you a better chance at not only hiring the best writer you can afford, but also in selling your script. The topic headings might help you navigate to whatever you most urgently need answered.
The Entertainment Marketing Arena
It is hard enough within "Hollywood" to hire the right screenwriter when you have all the connections. For someone that does not make the Entertainment Industry the center of his or her universe, the challenge might seem at times ludicrous, other times frustrating and intimidating. And of course we all hear stories of people being flat out ripped off! While films on Hollywood and the various TMZ type news media could make you think the Industry is nothing but con men, sycophants, and egotists, there are actually fewer instances of betrayal (especially related to writing) than you think. The various Guilds, legal limits put on producers and agencies, and believe it or not "reputations" make most screenplay deals very standardized and simple to complete without being totally taken advantage of... well, in 95% of the deals. But that percentage is just when focusing on whether or not a story is stolen or a writer is truly "chumped" or "rolled" for his investment money. The WGA investigated only 10 script in one year out of 70,000. That puts the odds of your story being ripped off at.012%. Protect yourself by registering it with the WGA, of course, but also realize that there are plenty of stories out there that producers don't need to steal. Your greater threat is really just ending up with a mediocre-to-bad script, or a script with no marketing value.
The various degrees of your potential frustration possibly comes from not knowing how to navigate the usual Hollywood system. It's like any unfamiliar business world (like stock investment or the court system.) There are procedures, and ways to lose your investment. Better reps and worse reps. Agents and lawyers provide a valuable service to protect the clients - yet can turn that against newcomers or the "desperate" to structure deals that favor their other clients, and not the screenwriter or original team. Remember, they will make far more money off so being loyal to a studio or exec than to their writer, and so on a small percentage of deals there is a conflict of interest. But that is just competition and survival of the fittest. At its core, a producer's job is to increase the value of his deal at the expense of others. He grinds costs down then splits the profits with the networks, studios, theaters, and distributors. That is why it is important to know someone who can guide you, co-write with this person if possible, and learn while you strive for a real deal.
The system by which screenplays are written, formatted, promoted, rewritten, repped, protected, and compensated formed into what it is today for a reason: each film launch is no different than opening up the biggest restaurant in town. The chef (director) and owner (producer) must please a fickle pubic with an opening night equal to building a theme park in 180 days. There is so much at stake that the system must respect the writer while protecting the investor and rewarding the public. It's a tricky cocktail of goals, to say the least. For this reason, as many variables as possible need to be taken out of the formula. That is why contracts and screenplay format are standardized. It is also why contracts and script submissions favor the producer or studio, for they are risking the money.
In the last year, two factors materialized that changed script submissions dramatically: the Internet became a source of creative initiative and power, and Studios and banks lost their collective asses in the economic collapse. The Internet makes it possible to connect with audiences on a level that can make them part of the movie and marketing, and it enables a producer to hire crews for low budget films or television. If you plan to go it on your own, there are ways to hire your own people. Craig's List is a hub for the Entertainment community. And searches allow producers to find locations, local actors, and also script writers that do not always go through their reps to be hired.
On a completely different level, the digital camera has made the job of filming cheaper, but also the competition ten times greater. This last year, there were almost exactly 10 times as many Indie films going after a limited number of distributors. The quality of films are down, because the audiences don't need the beauty of Witness or Silence of the Lambs. And some micro-budget hits like Paranormal make every think they can release a super hit. These are exceptions, not the rule. You still need a script worthy of bankable actors and directors.
The producer in this case when you are hiring a writer is YOU. What follows are general factors and facts to consider when seeking a writer for hire for your screenplay or television series. While I do admit that there are exceptions to these examples, and that I do make mistakes, overall what I write will hold up as true.
Your Competition
The WGA presents the numbers each year on how many screenplays were registered, and how many were sold or optioned. I have seen the number of scripts registered hover between 70-105,000 per year. And the number of scripts that signatories to the Guild spent money on might number 350-1,000 any year. It might look like you have a one-in-three-hundred chance of being paid some money for your script, but the numbers are deceiving. Most screenplay sales or options are run through the biggest agencies because they have the "attachments" of actors and directors. If you are not repped by one of the Big Five, then odds against you go up. But then, there is another statistic that ends up being in your favor.
One other way to look at the chances of your script being bought is to think that there are only 40 or so companies with enough juice to really move multiple projects to production, maybe more, but the number is lower than most people think. Each company has about 1-3 scripts a day to read. In a year they move on maybe 15. So, out of 1,000 scripts, 15 new writers might be entertained. But many of these come from writers already produced and popular. Sounds dismal, eh? That is all the more reason why you need to hire the best in the business, and someone who has access or plans on marketing your project with and for you.
The truth is that most screenplays are obviously rejects by reading only the first 15 pages, and a good percentage more are almost "unreadable." All readers will tell you that. These readers have been hired by companies to read script submissions. Scripts come in with such bad spelling, sentence structure, and logic that no one could decipher them. Many scripts feature a story that is trite and so common that it could never hold the audience attention. Other scripts seem to be written by people with a distorted view of the world they live in. Nothing makes sense or is justified. I in fact had one script come from a lunatic in an asylum who would call me from the doctor's office when he would sweep it at night. He claimed he was the doctor. His script? Pure paranoid delusions. But most commonly, the majority of the other scripts are too boring or unoriginal to make money back or any fame for the producer.
Then there are the formatting errors. There is a very specific format governing script writing. It exists for a reason. In the proper format, and only in the proper format, the readers know how many minutes in film time passed, others can flag all the props, Line Producers schedule dates and costs, rewrites become manageable, etc. So the need to follow the proper screenplay formatting proves essential. And one more fact you need to know: often times the first person reading your script is told, "If it deviates from the formula or format, toss it in the trash."
The final odds against you come in the form of "formula" that must be followed through the story line of the script. Screenplays, tv pilots, and Bibles for television must all follow a formula. This formula presents the heroes or main characters in a time line and manner that pleases audiences. The formula consists of Wise Old Man meeting the hero by a certain page, and many other key timing targets. It also shows the Point of No Return, Inmost Cave, and other primary turning points in a script. This all comes from a work written long ago called The Hero With A Thousand Faces. It is based on mythology stories.
Aside from that formula, there are a number of "special or secret" characteristics of a "marketable script."
Back to "your competition"...
The good thing about the rules and the high number of scripts competing with your script isn't to fill you with dread, it is to enlighten and then to encourage you.
If you team up with a skilled writer, he will know about the WGA, the rules, the formatting, the formula, and also how to put 80% of all other scripts far below yours, so that you really are only competing with 20 to 1 odds, or even 50 to 1 odds in getting in the door with a production company. That sure beats 1,000 to 1 odds.
In the end, you want to be confident that there is nothing wrong with your script in a "professional submission" sense. If it gets rejected it is not due to a technicality. It is due to other issues. What are these issues? Maybe the producer already has a script with a story like yours. Maybe another studio has Tom Cruise starring in a similar movie. I had one great script rejected only because the owner of the company hates any movie with a dream as a catalyst. A man going through a divorce might read a great script with a strong female lead and reject it because he is bitter. You never know. Yet you did know your script was formatted right and hit all the action points properly. So the rejection was personal, not universally damning of the work.
Now, the above are the basic things to know about the submission process, and what helps a script survive the first levels of approval.
I would like to end this chapter with one final point. There are two elements that raise the appeal of a script to the level where there is widespread appeal and competition for it among producers, stars, and agencies. These two element are: WRITING STYLE and HIGH CONCEPT.
A high concept script with a hot new hook to it, poorly written, will usually have an easier time selling than an outstanding script (say, a drama) that has no flashy angle to it or ways to put butts in seats off of the trailer. A top actor is of course one way, but they are limited. Style of writing (being excellent) is the main element that makes this script one that can sell and be produced because with luck and connections it can get to these actors. It is a harder road to travel usually because it requires a key actor or some angel investor to make it happen. A high concept script has many ways it can get "heat" that leads to financing.
Outstanding writing style in screenplays takes a blend of true talent as a writer, and an awareness of what the Industry and audience craves to watch on screen - and all this is worthless without the element of "marketing" applied to the style and scenes. It means learning what levitates a story/script up from "very good" to "really exciting or moving or hilarious." It's style... a talent or gift, most of the times honed by years of experience, but not always. Some first time scripts are amazing. Not many, though.
Now about that marketing angle of film financing. "How many great trailer moments jump off the page of this script?" "What is this film "about" in a Director sense of the word?" "How easy is it to cast with bankable stars?" "What other businesses might share in the advertising costs?" All these are factored in, and a top writer like myself knows how to make sure your final script has as many of these improvement points in it as possible.
CONCLUSION
As much as it's not cool to point out wrongs or the failings of the ways you might search for a writer, I need to do that to properly warn you about many misleading practices you might face.
When you type in "Screenwriter for Hire" on Google, the same sites competing with me pop up. They fall into a few categories. 1) Writing hubs that list ads for writers along with ads for companies paying them for advertising space; 2) Companies that hire freelance writers from around the country and they farm out your work to people you might never meet or talk to; 3) Individual writers of various degrees of talent, who might or might not specialize in your genre of screenplay, most of whom do not live in Hollywood. There are only one or two sites that offer writing by a produced writer, and these writers charge close to WGA prices for their writing services (over $50,000.) There might be a few exceptions to these people that I have not studied, but overall you need some guidelines to separate the good from the bad.
Good luck in your search for a writer. It's not easy. But, you will feel it in your gut when you click with the talented person that cares about your goals as much as he does about the money you pay him.
I am an award-winning Writer-Director. I've seen it all. But what elevates my understanding above other writers most of all is that I was mentored by two of the most brilliant legends in Hollywood. Both taught me how to write better screenplays. But one of them, Barry London, former head of Paramount, taught me the real art of deal making and how it should improve script writing. It's all about Marketing now. I spent a year designing all the blogs that will increase your knowledge about how to hire a screenwriter, and the challenges we meet. I hope you learn a lot and enjoy the stories.
Article Source: [http://EzineArticles.com/?How-To-Hire-A-Screenwriter-If-You-Are-An-Independent-Producer-or-Person-With-An-Idea&id=6002396] How To Hire A Screenwriter If You Are An Independent Producer or Person With An Idea
Saturday, November 12, 2011
Writing a TV Treatment
By [http://ezinearticles.com/?expert=John_Halasz]John Halasz
Special skills are needed for writing a TV treatment. In the common terminology used by the entertainment industry, a treatment is a long synopsis of a screenplay. They trace the development of the story scene-by-scene, including the character arc and every important element of the script. Writing a TV treatment is imperative for the eventual success of the TV program. Treatments are used to sell the idea of a TV program to the networks and large production houses. They can be used as guidelines for planning by the crew members.
Writing a TV treatment serves another function too. It saves the writer many hours of hard labor. If the idea is faulty or does not flow smoothly, the writer can either drop it or make necessary alterations before transforming it into a full-blown screenplay. Ironing out kinks results in a better TV program that attracts greater number of viewers. This is ultimately reflected in increasing the earnings and popularity of the author, director, and production company. There are several aspects that come into play when you set out writing a TV treatment:
� Almost all those who want to take up writing for TV love to watch TV. Study the popular TV shows at that time and decide which genre you would like to work on. It should be one that you are passionate about and already have the basic knowledge of.
� Write the logline of your intended story. This is a handy marketing tool. Even before the executives go through your treatment, they will want to know what it is all about.
� Decide how long the show will be -- an hour or for a shorter duration. Split it into distinct acts, interspersed with commercial breaks. While writing a TV treatment, keep this precept clearly in sight.
� Every act must end in a cliffhanger -- something to incite the viewers to continue watching. Similarly, the end of the episode should break off on a note which the audience would like to know more about. This is a good strategy to keep the viewers engaged.
� The opening scene must essentially be a smashing hit, goading the readers and later the viewers to go on.
� In the treatment the filler scenes and all the dialogues can be comfortably left out. Mention only important elements that push the story forward.
� If your treatment is planned to be four pages long, the first act must be only one page in length; the second act should be two pages long; the third act should be one page. Make all the acts seem to fuse together, giving an impression of fluidity in the story.
� Read the treatment aloud preferably to a few well-wishers and get their honest opinion. Make corrections if required.
The rule of the thumb for writing a TV treatment is to use persuasive, snappy language, edit and re-write till perfection is reached. The main idea is to hook the readers, compelling them to take up the project, help the production team, and keep the viewers glued to the TV show. A TV treatment writer can help turn your idea into a completed TV treatment.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK [http://ScreenwritersForHire.Com/]http://ScreenwritersForHire.Com/.
Article Source: [http://EzineArticles.com/?Writing-a-TV-Treatment&id=6613757] Writing a TV Treatment
Special skills are needed for writing a TV treatment. In the common terminology used by the entertainment industry, a treatment is a long synopsis of a screenplay. They trace the development of the story scene-by-scene, including the character arc and every important element of the script. Writing a TV treatment is imperative for the eventual success of the TV program. Treatments are used to sell the idea of a TV program to the networks and large production houses. They can be used as guidelines for planning by the crew members.
Writing a TV treatment serves another function too. It saves the writer many hours of hard labor. If the idea is faulty or does not flow smoothly, the writer can either drop it or make necessary alterations before transforming it into a full-blown screenplay. Ironing out kinks results in a better TV program that attracts greater number of viewers. This is ultimately reflected in increasing the earnings and popularity of the author, director, and production company. There are several aspects that come into play when you set out writing a TV treatment:
� Almost all those who want to take up writing for TV love to watch TV. Study the popular TV shows at that time and decide which genre you would like to work on. It should be one that you are passionate about and already have the basic knowledge of.
� Write the logline of your intended story. This is a handy marketing tool. Even before the executives go through your treatment, they will want to know what it is all about.
� Decide how long the show will be -- an hour or for a shorter duration. Split it into distinct acts, interspersed with commercial breaks. While writing a TV treatment, keep this precept clearly in sight.
� Every act must end in a cliffhanger -- something to incite the viewers to continue watching. Similarly, the end of the episode should break off on a note which the audience would like to know more about. This is a good strategy to keep the viewers engaged.
� The opening scene must essentially be a smashing hit, goading the readers and later the viewers to go on.
� In the treatment the filler scenes and all the dialogues can be comfortably left out. Mention only important elements that push the story forward.
� If your treatment is planned to be four pages long, the first act must be only one page in length; the second act should be two pages long; the third act should be one page. Make all the acts seem to fuse together, giving an impression of fluidity in the story.
� Read the treatment aloud preferably to a few well-wishers and get their honest opinion. Make corrections if required.
The rule of the thumb for writing a TV treatment is to use persuasive, snappy language, edit and re-write till perfection is reached. The main idea is to hook the readers, compelling them to take up the project, help the production team, and keep the viewers glued to the TV show. A TV treatment writer can help turn your idea into a completed TV treatment.
Contact professional [http://screenwritersforhire.com/]screenwriters to write, edit, or help with your screenplay or treatment. Just CALL (716) 579-5984, EMAIL ezine[at]GhostWritersForHire.Com, or CLICK [http://ScreenwritersForHire.Com/]http://ScreenwritersForHire.Com/.
Article Source: [http://EzineArticles.com/?Writing-a-TV-Treatment&id=6613757] Writing a TV Treatment
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