Logline and Treatment Request

[Ire]

So I don't have management. And by not currently having management, representation I'm not in a good spot. And I know that if I'm asking a question like this I am already showing my distrust of this situation.

A co-worker of mine knows a guy who works as an assistant to the assistant's assistant for a prodco, a fairly big one. So I gave my script to her to give to this assistant to give to one of the producers. So the guy I gave my script to is asking for a logline and a treatment.

Worst case scenario is with a logline, script and treatment, they have all they need to basically abscond with the idea. Of course they have the script so they have that, but it's registered and copyrighted, not that that is foolproof protection, of course but.

Best case scenario, they're possibly interested.

Is the logline-treatment combo the usual for prodcos when they're accepting "unsolicited material"? This is the first time I've been asked by a prodco to provide a logline and treatment.

The other scenario is I'm assuming they don't want to spend the time reading the script without having some material that says, this writer has a clue.

Any thoughts, suggestions?

Thanks!

[NikeeGoddess]

The other scenario is I'm assuming they don't want to spend the time reading the script without having some material that says, this writer has a clue. this is it. many producers w/the power to greenlight don't have the time or patience to read scripts from newbies. if they like the treatment then they'll ask for script.

[Ire]

Thanks, Nikee.

[Code7Films]

I NEVER send out a treatment. If they are too F-ing lazy to read the script, screw 'em. I tell them upfront the script is new and we don't have a treatment. We are too busy trying to keep up with the requests. :eek:

[Code7Films]

this is it. many producers w/the power to greenlight don't have the time or patience to read scripts from newbies. if they like the treatment then they'll ask for script.

Which is redundant and a waste of time...

[Ernie Santamaria]

Give 'em some of what they requested (or simply hide the script on that shelf in the garage -- it'll be safe there).

Seriously -- the logline is a concise way for assistants and execs to communicate its essence (without having personally read it) when recommending that others have a look at the script.

They assume that you've already distilled that essence well into a few logline sentences. Many of these folks couldn't be trusted to write a grocery list and so couldn't *concisely* formulate those expressions themselves. You'll be helping them and yourself.

I would not however send a full-blown treatment. That said, it's not at all unusual for prodcos (or some agencies) to request a one- or two-page synopsis from a new writer.

Experienced industry people can tell a great deal from that synopsis; not only about the story, but about the likely writing skills that the script may or may not exhibit. Hopefully you already have prepared a sizzling one for every script you market. Send them that brief synopsis and the alluring logline.

Ernie

[carcar]

I've heard of people who aren't comfortable sending a synopsis offering the first 10-12 pages with a logline...

[Ulysses]

I'd say experienced and able industry people can tell from a few pages if the writer has got it.

A writer giving out a treatment is like a haute cuisine cook giving out a fast food version of his creations.

If someone needs a treatment before the script, it looks like that person doesn't trust his own judgement and wants more clues before he can get to some random decision.

May be a good way for writers to weed out not so valuable targets.

PS: Treatment writing is a task very different from screenwriting. Comparable to the novelist and the writer of the dust jacket blurbs/press releases.

A treatment is a tool to develop a story. And it looks different from the kind of treatment that a certain kind of industry people wants to see (a baby novelization).

[Ernie Santamaria]

Ire,

Go with sending the logline plus the 1 or 2 page synopsis.

They've already got the script; there's not a reason in the world for them to have a treatment at this time.

Btw, there *are* a regrettable number of people in the industry (hopefully not permanently) who regularly interchange the words "treatment" and "synopsis." I trust you're not dealing with any of those types?

Ernie

[Code7Films]

Ire,

Go with sending the logline plus the 1 or 2 page synopsis.

They've already got the script; there's not a reason in the world for them to have a treatment at this time.

Btw, there *are* a regrettable number of people in the industry (hopefully not permanently) who regularly interchange the words "treatment" and "synopsis." I trust you're not dealing with any of those types?

Ernie

Yep, a lot of time you can get by with a 1-2 page synopsis if it is tight.

[Takezo]

Treatments are a waste of time.
This is old, old school--from days long gone.
Nobody buys treatments (unless your JJ Abrams--sorry to use it again).

And I hate this log-line/1-page thing that has become de regur.
This is just a way to shave some time off the weekend reading process.
If it isn't eye-candy in some way, it goes in the recycle basket.

The log-line/1-page thingy works great with high concepts, etc.
But in my opinion for drama and some other genres it's the kiss of death.
It's hard to make that stand out on paper in short form.

But it seems you have to do it--unless you have an agent/manger who can cut through all of this crap. Luckily I do. But even then he wanted a log-line/1-pager for an action pic I penned. I asked him why don't they just go and read the frickin' scipt? But this is all they/them wanted.

To write a compelling, powerful treatment takes just as much time and effort as writing a screenplay--and it won't get you anywhere. I don't know why they still teach this in film schools (which are a complete waste of time and money by the way).

So you should have your one-pager ready and waiting.
Actually it should be stapled atop the screenplay--just in case it comes up against a lazy donkey.

T

[Takezo]

And you should be out looking for representation--not trying to move your material through friends of friends and people who supposedly know people.

This is Craigslist BS and amateur-ville business.
Stay away from it.
It's the kiss of death.

T

[Ire]

Thanks for all of the feedback. I will write it more for me than for them mostly to show that I can. I know the story, characters inside out.

I will clarify that it's a treatment vs. a synopsis.

As much as it seems old school, it's been preceded by a fairly serendipitous set of events, at least to me anyway, and it came to me more than I sought it out at the time when a creative/professional relationship that I've had has not come to fruition. So I will be seeking representation on a more active basis. As Craigslisty as it might feel, it's a challenge and I will rise to the occasion and roll the dice.