In addition to writing a complete script, you should create a synopsis or treatment, since many producers, agents, and managers, as well as potential investors if you become a producer, will want to see this. A synopsis or treatment is a way for them to see a little more about the project to help them decide if they want to see the full script.
The synopsis is commonly a 1-2 single-spaced page document in which you feature the highlights of the script. Preferably keep it to 1 or at most 1 ½ pages, and if there is a second page, print out any printed copy back to back, though usually you will send this in a PDF format via an email attachment.
The treatment is basically an expanded version of the synopsis in which you write out the main action in the script without dialogue – or occasionally include dialogue in a paragraph describing the action to help dramatize the story. Perhaps consider this like a condensed form of the script featuring the story-line, without the dialog. . I have personally found treatments unnecessary, since typically, after seeing an introductory letter or having a brief phone or in-person discussion of the project, the producer, agent, manager, or other party will ask to either see a synopsis or the full script, and some will want a synopsis along with the script.
You can write this synopsis before or after the script, and you can always adapt and modify it should you change the script. I commonly write the synopsis before I write the script, since this then becomes an outline I use as a guide for writing the script, though I sometimes make changes as I go along, as the story and characters suggest other directions. Then, I revise the synopsis as I make these changes or at the end of writing the script. Others prefer to write a separate more detailed outline to guide them, while some expand an outline into a treatment that they use to write the script. Still others may write a script with only a general outline of what to write and do the synopsis at the end.
Use whichever approach works best for you. The point is to have a short synopsis you can use when you pitch your script to producers, agents, managers, and possibly investors, whether you use this as a guide for writing your script or not.
There are several ways to write a good synopsis, just as there are several ways to write a good query letter or treatment.
One approach is to create subtitles for the different parts of the synopsis, which generally include these:
Logline – a one-sentence 20-35 word summary of what the film is all about, plus include a phrase about you as the writer if you have industry credits, such as by the writer of (NAME OF FEATURE FILM).
Genre – a phrase featuring the main genres (ie: drama, comedy, sci-fi, etc.)
Synopsis – three or four paragraphs highlighting the major plot points
Appeal of the film – a sentence listing the film’s main audience (ie: women, sci-fi fans)
Author’s Bio – a one paragraph summary featuring your industry credits
Finally, conclude with a call to action by inviting the contact to ask you for further information or see the synopsis or treatment (if you have one) or the completed script.
Another approach to writing the synopsis is to feature these main sections, but combine them into a series of paragraphs. I prefer this format myself, since I like the continuous flow of one idea into another.
If there are many characters or subplots, focus on the main characters and central plot of the story, and include a reference to other plot lines in a sentence or short paragraph that sums up the subplot and relates it to the central plot. For example, you might write something like: “Meanwhile, as Jeremy was going through a series of challenges in seeking to stop the reservoir from overflowing in order to save the town, his fiancée was plotting with her secret lover to stop Jeremy, because they were partners in a scheme to develop the property after the homes were destroyed.”
One of the big mistakes that writers make in writing a synopsis is to cram in all the details about all the plot’s twists and turns created by different characters, which can become confusing and difficult to follow. Leave the extensive plot details for after a film industry professional has asked to see more.
The other big mistake writers make is being too vague or leaving the reader guessing about what happens in the end of the story. While it can be fine to tantalize the prospective viewer with this uncertainty, agents, managers, and producers generally want to know the ending. Some writers try to leave things very vague since they fear someone stealing the story. But the way to protect yourself is by filing a copyright on the script, and if you make the synopsis appealing enough, film industry pros will want to contact you and see the full script, rather than trying to steal the idea from you. Then, too, if your synopsis is so vague that it just seems like an idea, you can’t protect it, since ideas cannot be copyrighted. So don’t just say something like “Jerry received a warning which turned his life around and led to everything else that happened. “ Instead, say what this warning was for and describe what happened to change his life and what he did then.
Once you have a completed synopsis, you are ready to start pitching your script to agents, managers, or producers or you can pitch a completed film based on your script to potential investors.
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Gini Graham Scott, PhD, is the author of over 50 books with major publishers, including two on the film industry: THE COMPLETE GUIDE TO WRITING, PRODUCING, AND DIRECTING A LOW-BUDGET SHORT FILM and FINDING FUNDS FOR YOUR FILM OR TV PROJECT, both published by Hal Leonard. She has written and produced over 50 short films, has written 15 scripts for features, has three other films in preproduction, and has one feature film she wrote and executive produced in post-production for release in November 2014. She also writes scripts for clients, and has several film industry Meetup groups which have meetings to discuss members films.