WHAT IS A TREATMENT?
A treatment is a document that presents the story idea of your film before you write out the full script. A treatment can help you explore plot possibilities and develop character so that you know you have a story that that works before you commit to writing out a script.
It is designed for a busy person (a producer for example) to read it at a glance. Avoid any unnecessary complication.
It is written from ACTION to ACTION. It follows the plot of the film with a minimum of detail. Do not include descriptions of specific camera shots. Do not include lines of dialogue. Only what happens and what the character is thinking or feeling as they move through the story. Your descriptions should be ACTIVE: he shouts, she climbs, they run, etc. Everything should be in the present voice. Most importantly the treatment should be clear and easy to read.
EXAMPLE: THE ESCAPE by Tessa Siddle, FW 2000
An empty dartboard, scarred and beaten up from use. Three sets of voices are heard in background. A parent’s voice lists errands and chores, a teacher reprimands a student for his lack of responsibility, and a group of students gossip.
A dart hits the board. The voices of the gossiping students disappear. Another dart hits the board. The teacher’s voice disappears. An intense young man lifts a dart and aims. The dart hits the board and the parent’s voice disappears. The room is quiet.
The young man seems relieved, as if some weight has been lifted. He closes his eyes. It’s quiet at last, he thinks. He looks toward a window. Outside branches of trees move in the wind.
He goes to the window, stares out, raises it and climbs through.
He stands a minute, relieved to be outside. He watches the branches move up and down.
He slowly climbs down a ladder which is propped against the roof. At the bottom he stands looking at the ladder, which fades and vanishes. Happily he touches the wall where the ladder was leaning, amazed at his power, and that things have started to go right for him. He moves with more energy.
He rounds the corner of the house, quickly making his way down a narrow path at its side. He’s going to get out of this place! He runs up to the gate, pulls it open, and moves outside. His face freezes. He’s not outside. He’s not free. He’s standing at the door of his room—his face is a jumble of emotions, mostly disappointment.
He pushes on the door. He walks in dejectedly, stands for a minute. He can’t believe he’s failed so miserably. He turns slowly as he hears the voices returning. He covers his ears. He looks at the dartboard.
It’s empty.