![]() ![]() Here is the first rule of pitching: never, everleave anything behind. So don't worry about synopses instead, spend your time getting good at pitching both verbally and in writing.įinally, the treatment. It's much less about the details than about the sizzle. It's about telling them this is so cool and then this is even cooler and then, Surprise!, this is the coolest of all. It's not about telling them this happens then this happens then this happens. ![]() A synopsis encapsulates a story a pitch is designed to sell it. What they want for you to send them is a written pitch, as opposed to a verbal pitch. Now, sometimes people ask you to send a synopsis of your movie for them to consider producing, but that's not really what they mean. You will never need to write a synopsis, so don't sweat it. But that kind of personal outline can be informal, messy, or even incomprehensible to outside eyes, because you're the only one who'll ever read it. On the other hand, I personally think an outline is invaluable as a writing tool it gives you a place to work out all the structural problems before you start writing dialogue. ![]() If you don't use an outline when you write, there's plenty of time to learn how to do one after you've sold your pitch. When the time comes you'll need to do it, but you don't ever need to turn one in without a prior written agreement and a forthcoming check. It's a tool to help you write the film or the TV episode and (crucially) it's a step for which you get paid. Get good at this, because you do it a lot.Īn outline is something you do once you've been hired to write the film or the TV episode. You're taking a little bit of info and trying to convince someone else that a really great experience will follow. Every time you try to convince a friend or spouse to see a movie or TV show with you, given what you've seen in the trailer or read in TV Guide, you're pitching. Here's the thing about pitching: we do it all the time. Be able to tell the story with enthusiasm, complete with a beginning, a middle, and an end. In other words, know who the main character is, what he or she wants, and what stands in the way. You aren't expected to have all the details of every story worked out, but you should have all the main points covered. You come in to a meeting with a minimum of three story ideas you don't want to have just one idea, because they might already have something like it in development. Pitches, outlines, synopses, and treatments are all useful for different purposes and in different ways.Īs a freelance writer in film or in television, you will be expected to pitch. What's the difference between a pitch, an outline, a synopsis, and a treatment? Negotiating ContractsSetting Fees/Getting Paid HELPFUL LINKS | EDITOR'S CORNER (Ramblings on the Writing Life) HOME | ABOUT US | CONTACT US | SITE MAP | MASTER ARTICLE INDEX | ADVERTISE WITH US! The Screening Room: Pitch, Outline, Synopsis or Treatment? ![]()
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