Screenwriters are storytellers whose preferred format is the script.

While many also create beat sheets and outlines to aid with the screenwriting process, they can still get unsettled when asked to write prose—which is exactly what a film treatment is.

A film treatment is the prose telling of the story that takes place in a script.¹ It is also written in third person and present tense – just like a script – so it’s not entirely different than the document from which it’s inspired.

Some people may think of a film treatment as a synopsis, but film treatments are  generally too long to be considered a synopsis. A synopsis is usually a paragraph or two at most that concisely gives an overview of the script’s story. Even though a film treatment is considerably shorter than the script itself, it typically contains several key plot points and details that could not fit into a shorter synopsis.

Film treatments are also different from film outlines. A film outline is typically meant strictly for the Screenwriter’s eyes (in some cases, the Writer’s Manager or Agent may also see it). An outline can also be significantly longer than a treatment, which often comes in at 10 pages or less. The formatting of an outline also differs from that of a film treatment in that Screenwriters sometimes like to write their outlines as a bulleted list rather than in prose.

There is no set page length for a film treatment. That being said, the reasons why a Screenwriter would craft a film treatment can impact its length.

If a Screenwriter is crafting a treatment to help clarify the script’s story for themselves, it might be 10 to 12 pages in length. If they’re writing it to pass along to others who might be interested in the script but not wanting to read all 100 pages of it, the film treatment might be two to three pages. If it’s a studio or production company that is seriously interested in producing the script, a treatment could be upwards of 20 pages or more to provide enough story details for the studio or production company to decide if they want to make the film.

For some Screenwriters, the nature of their screenplay might call for a much, much longer treatment. This was the case for Screenwriter Billy Ray (Captain Phillips, The Hunger Games, Shattered Glass), who told us, “When I wrote the script for Captain Phillips, I was working off a treatment that was 65 pages. I had so much information I had learned about the Merchant Marine and how it worked.”

Before we launch into the specifics of how to create a film treatment, though, it’s important to clear up why Screenwriters should put their scarce time and precious energy into making them.

After all, couldn’t that time and energy be better spent on writing another script? Not necessarily.

A film treatment serves dual purposes: to clear up the story for the Screenwriter, and to give third parties a glimpse into the script.

Curious to learn how to progress from having that next great story idea to writing out a film treatment for it? This video explains.

What many Screenwriters don’t realize about a film treatment is just how versatile it can be.² In fact, a film treatment can be the single most important document in making sure the script’s story is solid.

Yes, beat sheets and outlines can also be incredibly helpful in providing a path for Screenwriters to follow as they work on their scripts. But what did we mention before?

Screenwriters are storytellers.

Though the end goal of a script is to have it realized in a visual format—film—it will go through dozens if not hundreds of hands as a piece to read before that ever happens. So it’s up to the Screenwriter to make sure that it is in a compelling and enjoyable script format.

That’s easier said than done when a script usually comes in at 90 pages or more. Getting sidetracked along the way can happen quickly and losing focus of what the actual story is.

Enter the film treatment.

Before a Screenwriter writes “FADE IN,” they can better their odds of making sure the script stays on track by writing a film treatment. Writer Mercedes Milner notes, “For me, writing a treatment helps to untangle the narrative in my mind and put it on the page. I do it before I start scripting so I’ve got a road map to follow.”

Now, a treatment can vary in length from a few pages all the way to a dozen or more. It’s well-known that filmmaker James Cameron loves long and detailed film treatments; the one he wrote for The Terminator is nearly 50 pages!

It’s not necessary to go to such lengths—literally—when writing a treatment, but the point is that having one can help a Screenwriter shake loose what the actual story is. After all, with the economy of space typically reserved for film treatments, it’s important for the Writer to concisely and clearly write out the broad strokes of the most important plot lines.

In turn, they can then use this guideline when embarking on the much bigger task of writing the entire script.

Added bonus: When that script is completed, the Screenwriter can go back to their film treatment to see if they did indeed faithfully follow what they intended the story to be. One disclaimer, though.

It’s not unusual for a Screenwriter to pivot in another direction with their script once they actually get into writing. Many Writers hit those epiphanies in the middle of the creative process—and that’s great. However, a decision has to be made.

If what they end up writing doesn’t match what the treatment describes, they must alter one so they ultimately align. And the following reason explains exactly why this is so important.

You know how everyone talks about having a script ready to go if and when a Producer, Executive, Manager, or Agent wants to read it? That’s important advice.

All Screenwriters should have an example of their work that offers an idea of their writing style, voice, and talent. But here’s the thing… Not every Producer, Executive, Manager, or Agent wants to read an entire script. And though they might ask for a script and read just the first 10 or 15 pages of it, that might not satisfy their curiosity for how the story ends. That’s where a treatment can be a make-or-break document for Screenwriters.

Instead of delving into a 90-page script, that uber-busy Producer, Executive, Manager, or Agent can read a three-page film treatment.So in a fraction of the time, they can get a better sense of the story and decide from there if they want to read the script.

And in an industry where great first impressions are essential, Screenwriters should never say “I don’t have one” when asked for a film treatment. With a strong film treatment, a Writer can potentially leverage it into a representation, option, or even writer-for-hire deal.

One last note on why a film treatment can be a vital part of a Screenwriter’s career: It can strengthen other skills they need to possess. Case in point, pitching.

When the day comes that a Screenwriter will need to pitch their story in an Executive’s office, business meeting, or elevator, they must know what’s most important to relay to their audience.

Minutes—indeed, seconds!—count in these scenarios, and a film treatment can provide a blueprint for understanding what to share for the pitch to be coherent, comprehensive, and concise. Think of it as a kind of pitch cheat sheet!

Says Actor-Writer-Filmmaker Jamie Hill, “The script isn’t enough when you want to sell or show off a product. In a pitch, the party you are showing your script to generally doesn’t have the time to read your entire piece.

Get them interested in the world you’ve created using a smaller package, which is your treatment. The treatment should tell the other person everything they need to know about your script.”

What should you include in a film treatment? We’ve generally noted that it should be concise yet informative. So what does that mean?

Screenwriting – including film treatment writing – is a learning process. This video offers some helpful tips for novice and veteran Writers alike.

In your film treatment, be sure to include:

• Your contact information
• Script title
• Central characters
• Summary of major plot lines
• A similar tone to the screenplay (for instance, if the screenplay is a fast-paced action film, the treatment should also feel fast-paced and exciting)

And if you want to have your logline on it, go for it. As you’re writing your story, be sure to also weave in elements that further clarify what it’s about such as the theme and genre.

Again, Screenwriters are storytellers, so let that nugget of knowledge be the guiding principle when creating a film treatment. Just write the story³.

As with a script, don’t be too critical with the first pass. Write out as much as is necessary until it feels like the full story has been told. Just remember, present tense and third person!

And once that first pass is completed, now the fun begins. As with a solid script, a tight film treatment can be achieved only with a discerning eye. Think about the big picture. What is the story really about? If a detail can be deleted without it affecting the story, do it.

Edit, edit, and edit again until the story flows. Once the film treatment feels strong, put it away for a while. Yes! Just like a film script. After a few days or weeks, review it again with fresh eyes.

Now here’s the thing. It’s okay to have different versions of a film treatment for the same script. Because in some circumstances, as when an Executive simply wants an idea of what the script is about, a film treatment in the three-to-five-page range will likely suffice.

But if we’re talking about the potential to go into production with a script, and perhaps some investors or Producers need to be convinced to come on board, it might be more beneficial to have a film treatment that’s longer and with more details.

It never hurts to get a little feedback on a film treatment as well. Especially if a friend or colleague has already read the script, getting an outsider’s perspective on whether or not the treatment is faithful to that script can be hugely beneficial.

Yes, it is possible to generate enough interest in your script from the film treatment alone that someone wants to buy it. How? Watch this video to find out.

Sounds like the steps Screenwriters take when writing a script, eh? An important piece of advice to keep in mind when asking for feedback for a script or film treatment: Make sure the person reading it can offer constructive criticism. Having someone who is too nice to be honest about what needs improvement is just as bad as someone who is overly critical or has no tact when pointing out faults.

At the end of the day, a film treatment can be a highly instructive tool and asset for a Screenwriter. In an industry where countless creatives are hoping to get noticed, those looking to make a career for themselves should take all opportunities to keep honing their writing and make it the best it can be.

A strong film treatment can truly be the difference between an Executive passing on a script and getting them to take notice of all those hours of time, energy and passion that were put into the Screenwriter’s work.

Now that we’ve impressed upon you how important it is to have a strong film treatment to share with interested parties, what missteps should you avoid when writing one?

If it’s clear that the person requesting your treatment wants it only to get a better sense of your story, don’t give them a 20 or 30-page treatment. Aim for less than 10 pages.

The goal of a film treatment is to provide a compelling overview of your script – not every facet of it. It’s great if you are so invested in your screenplay that you are eager to share every part of it, but the film treatment should focus only on the characters and plot points that move forward the most important parts of the story.

If you have one stellar line that you must include – that you feel will help the reader get a better sense of the protagonist or humor of the piece – do it. Otherwise, stick to telling a prose story that flows smoothly without the need for extraneous dialogue.

This can be a no-no even for scripts. Again, a film treatment is just about telling a story, not instructing the future Cinematographer on where you want the camera to go.

Want to read some examples of film treatments for well-known movies? Take a peek at the film treatments for:

• The Shining (1980)
• The Terminator (1984)
• My Own Private Idaho (1991)
• Halloween H20: 20 Years Later (1998)
• Mr. & Mrs. Smith (2005)