Develop narrative synopses that tell the complete story cinematically, serving as sales documents and production blueprints
Write compelling narrative treatments that tell your complete story in prose form. Treatments serve as sales documents (to attract talent and financing) and production blueprints (to communicate the vision). They must be engaging to read while conveying the full scope of the narrative.
# [TITLE]
A [genre] [format] treatment
Written by [Author]
[Date] | [Draft Version]
---
**Logline:** [One-sentence hook]
**Tone:** [Tonal description with references]
**Theme:** [Core thematic statement]
| Section | Purpose | Length |
|---|
| Opening Image | First visual, sets tone | 1 paragraph |
| Setup | World, protagonist, status quo | 1-2 pages |
| Inciting Incident | Disruption, story kicks off | 1-2 paragraphs |
| Act One | Rising action, stakes | 1-2 pages |
| Midpoint | Major revelation/shift | 1-2 paragraphs |
| Act Two | Complications, escalation | 2-3 pages |
| Climax | Final confrontation | 1-2 paragraphs |
| Resolution | New equilibrium | 1 paragraph |
| Closing Image | Final visual, mirrors opening | 1 paragraph |
Bad: "John is angry about his father's death and wants revenge."
Good: "John stands before his father's grave, rain streaming down his face. He pulls a photograph from his pocket—his father, smiling, at John's graduation. John's jaw tightens. He crumples the photo in his fist and turns away."
Describe major visual moments that define your film:
The helicopter chase through the neon-lit canyons of downtown Tokyo,
weaving between skyscrapers as searchlights paint the night sky.
Sarah clings to the landing strut, wind tearing at her clothes,
as below, the city stretches to infinity—a glittering circuit board
of lights and shadow.
Use sparingly for key moments:
Marcus steps forward, hand outstretched. "We can end this. Together."
Elena's eyes harden. "Some things can't be forgiven, Marcus.
Some things can only be avenged."
| Format | Treatment Length |
|---|---|
| Short Film | 2-3 pages |
| Feature | 5-15 pages |
| TV Pilot | 8-12 pages |
| Limited Series | 15-25 pages (all episodes) |
| Episode | 3-5 pages |
ACT ONE (Setup) - 25%
ACT TWO (Confrontation) - 50%
ACT THREE (Resolution) - 25%
TEASER - The hook that grabs viewers ACT ONE - Establish world and characters ACT TWO - Inciting incident and complications ACT THREE - Escalation and midpoint ACT FOUR - Crisis and decision ACT FIVE - Climax and cliffhanger
# [TITLE]
A [genre] [format] treatment
---
**Logline:** [Hook]
**Tone:** [Description with film references]
**Theme:** [Thematic statement]
---
## FADE IN:
[Opening image and setup]
---
## ACT ONE
[Act one narrative]
---
## ACT TWO
[Act two narrative, include midpoint]
---
## ACT THREE
[Climax and resolution]
---
## FADE OUT.
---
**Key Setpieces:**
- [Setpiece 1]
- [Setpiece 2]
- [Setpiece 3]
**Character Arcs:**
- [Protagonist]: [Starting state] → [Ending state]
- [Antagonist]: [Arc description]