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Do you wish to make your film or produce your movie? Then this movie production diary is for you.
It exposes all the materials, stakeholders and personnel involved in film-making. It also highlights the roles and tasks of every personnel especially the ones behind the camera (the crew).
Again it advises the filmmaker on the quality of materials and persons he will employ to work for him in order to produce the best movie or film.

HERE IS A LIST OF MATERIALS, STAKEHOLDERS, PERSONNEL AND TASKS INVOLVED IN MOVIE PRODUCTION

ABOUT THE MOVIE SCRIPT / SCREENPLAY
(1) Go for scripts written by very creative writers that write out of passion

(2) The story in the script you go for should have some bizarre twists that can make the audience feel shocked and puzzled at most moments in the movie

(3) Go for script that has a theme that deals with mysterious problems in the society

(4) Go for scripts with stories that have a great conflict between the villain and the protagonist

(5) Don't go for scripts that are too long or have too much number of scenes and locations


(6) Go for Scripts that have mature dialogues in them 

(7) You can buy good written screenplays with unbelievable stories from us at SCRIPTS N PAPERS OR NET-CONTENT MEDIA. Click on the link below
Buy from us quality screenplays with incredible story-lines written by creative writers. Just click here 
You can also Read more on Film-making here


ABOUT THE CAST 
(1) The cast includes the actors and  you must utilize the services of a good casting director 


ABOUT THE CREW
PRODUCTION
(1)Executive producer
The aim of an executive producer is to invest his money in a movie project in order to make more money. There every stakeholder employed towards this course should be the best and must be at their best.
(2)Producer
Get a producer who has the moral to state the conditions and specifications needed for him to make a good movie right from the story to the script, to the casting, budgeting, hiring of key personnel (the crew), coordination, scheduling of shootings, post production, to distribution, marketing and premiering.
A producer has to be a good manager. He should utilize prudently and effectively the money given to him by the executive producer. He should be able to ask a lot of questions about what the executive actually wants.

CASTING
(1)Casting director
The casting director should be very emotional about the characters in the script to enable him choose the most appropriate actors. He should also have a full knowledge about the story so he can comfortably explain to the actors what is expected of them.
(2)Cast PA
The cast PA must always be ready to assist the cast director and the chosen actors as well.

DIRECTING
(1)Director
Get a director who can interpret a screenplay, visualize the story and make a real life out the characters. He should be able to guide the technical crew, most especially the camera and lighting crew; and also intimate them on the nature of the screenplay and the cast involved. The director should also be able to establish a good relationship between the cast and the crew
(2)First assistant director
(3)Second assistant director
The assistant directors should be able to help both the director and the production manager in certain tasks like overseeing the day-to-day management of the cast and crew scheduling, equipment, script and set.

LOCATIONS
(1)Location manager
The location manager must oversea the locations department and males sure that final clearing (guaranteeing permission to use) a location for filming.
(2)Assistant location manager
(3)Location scout
(4)Location assistant
(5)Location production assistant
Personnel responsible for everything about location must ensure that the best location the befits the movie is used for filming

ART DEPARTMENT
(1)Production designer
(2)Art director
(3)Set designer
(4)Illustrator
(5)Graphic artist
(6)Set decorator
The personnel in the art department are responsible for everything about the artistic designs. These include costumes, character makeup, set designs, graphic designs, billboards signs, poster designs, logo and nameplates creation.

CONSTRUCTION
(1)Head carpenter
(2)Prop maker
The personnel here oversee the construction of all the sets with directives from the set designer. 

PROPERTY
(1)Prop master
(2)Weapons master
All the props needed in filming are managed by the Prop master.
The weapon master is a specialized prop technician who deals with firearms.

COSTUME DEPARTMENT
(1)Costume designer
(2)Costume supervisor
Everything about costumes is handled by the costume department

HAIR AND MAKE-UP
(1)Key make-up artist
(2)Special make-up effects Artist (SFX makeup)
(3)Make-up supervisor
(4)Make-up artist
(5)Key hair
(6)Hair stylist
The personnel in the list above handle whatever thing concerning makeup.

CAMERA AND LIGHTING
(1)Director of photography
The director of photography is the chief of the camera and lighting crew, and he must work with the director to achieve the best shots with correct lens, filter, lighting and composition

CAMERA
(1) Camera operator
The camera operator is the most important personnel in film making. He is the eye of the movie, and any form of mistake from him ruins the whole show.
Therefore, he must ensure he follows the directs of the DOP.
(2)First assistant camera
(3)Second assistant camera
(4)Clapper loader
(5)Film loader
(6)Camera production assistant
(7)Digital imaging technician
(8)Stead cam operator
(9)Motion control technician/Operator
All the above listed do help both the DOP and the camera man in one way or the other.

LIGHTING
(1)Gaffer
(2)Best boy
(3)Lighting technician
Everything about lighting are all these listed above.
PRODUCTION SOUND
(1)Production sound mixer
The production sound mixer is the head of the sound department. He must direct the boom operator on how best to capture the sound for every shot
(2)Boom operator

SPECIAL EFFECTS
(1)Special effects supervisor
(2)Special effects assistant
This department oversees the mechanical effects that create optical illusions during live-action shooting. “The special effects” is different from the visual effects which adds photographic effects during filming to be altered later during video editing in the post-production process.

STUNTS
(1)Stunt coordinator
The stunts coordinator involves the use of stunt performers in film that requires a stunt

CONTINUITY
(1)Script supervisor
The script supervisor must be cautious with his role. The continuity of filming after adjustments in the scenes have been made is very important.
He keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script.

PRODUCTION OFFICE
(1)Line producer
The line producer is 'on the line' on a day-to-day basis while the shooting and production lasts. He is the liaison between the studio/producer and the production manager
(2)Production assistant
Production assistance do assists in the production office.

PRODUCTION MANAGEMENT
(1)Production manager
The production has to make sure that everything concerning filming is well managed.
He supervises the physical aspects of the production which includes personnel, technology, budget and scheduling.
(2)Assistant production manager
(3)Unit manager
The unit manager is same with the production manager but for secondary 'unit' shooting.
(4)Production coordinator
The production coordinator is the information intermediate for logistics pertaining the production manager's tasks

ACCOUNTING
(1)Production accountant
The production accountant manages all finances and  must ensure the production comes in on budget and everyone gets paid.

POST-PRODUCTION
(1)Post-production supervisor
The post production supervisor will have to maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies and the production accountant.

VISUAL EFFECTS
(1)Visual effects producer
(2)Visual effects creative director
(3)Visual effects supervisor
(4)Visual effects editor
(5)Compositor
The team here takes care of the post-productions alterations of the film's images.

SOUND AND MUSIC
(1)Sound designer
(2)Dialogue editor
(3)Sound editor
(4)Re-recording mixer
(5)Music supervisor
(6)Composer
(7)Conductor/Orchestrator
(8)Score Recorder/Mixer
(9)Music Preparation
(10)Music editor
The team here handles the theme sounds, tunes and music sounds needed in the movie. This comes in the post-production.

EDITORIAL
(1)Film editor
(2)Negative cutter
(3)Colorist
(4)Telecine colorist
The editorial team is responsible for putting together various shots into a coherent film, with the help of the director. 

ADDITIONAL PRODUCTION CREDITS
(1)Unit Publicist
The unit Publicist liaises between the film production and the media.
(2)Legal counsel
Movie production requires entertainment lawyers to oversee the legal aspects in getting the movie done.
(3)System administrator
The system administrator maintains and operates a computer system to ensure all the digital effects for the movie is achieved.  

So you can go ahead now and make your movie! 

But you can also check our other updates and Read more on Film-making here



TV shows are categorized (according to their STORY CONTENT) into:
Fictional and Non Fictional TV shows

FICTIONAL TV SHOWS; include:
TV Comedies and TV Dramas

TV Comedies can further be broken down into types like Situation comedy (Sit-Com),
TV Dramas can also be further broken down into types like Soap Opera, Family drama 

NON FICTIONAL TV SHOWS; include:
TV Documentaries, News, and  Reality TV show

Reality TV show can further be broken down into types: game show (which include shows like Lip Sync battle, who wants to be a millionaire, rap battle, cooking competition), Talk show, Music show, Award shows, family show
The aim of a game show is to create a competition that will incite entertainment in the audience.

TV documentaries are vast. They explore almost every field in life - Technology, Sports, Society, Sexuality, Science,  Religion, Psychology, Politics, Philosophy, Performing arts, Nature, Mystery, Military & war, Media, History, Health, Environment, Economics, Drugs, Crime, Conspiracy, Comedy, Biography, Art & Artists
TV documentaries do explore all the topics found in the listed fields. They help define concepts, expatiate facts, explain mechanisms and demystify theories in the various topics. They also tell the history of the characters, both living and non-living found in the topics.




TV shows can also be classified (according to their STORY MODE) into:

TOPICAL; as in the case of News and TV Dramas

HISTORICAL; as in the case of TV Documentaries and Reality TV show

INSTRUCTIONAL or EDUCATIONAL; as in the case of TV game show, Talk show,

ENTERTAINING; as in the case of TV Comedy, TV game show, Music show, Award show, family show,



Scripts for TV Comedy and Drama shows are usually written in episodes. And the first episode of a TV Comedy and Drama show is called PILOT.
Unlike the normal feature film screenplays (the normal movie scripts), scripts for a TV Drama show contain different separate short stories acted by almost the same character ensemble. The different short stories are integral parts which build up the main story of the show; and which in turn depicts the main theme of the show. This is to say that the main aim of a TV Drama show is to tell a particular story in order to send an important message using different separate short stories that run for short durations of TV time.
The events that occur in the different separate short stories in the particular duration (20-22 mins) of TV time are called EPISODES.

NOTE: Some TV Drama shows are not written in episodes, but rather, they are just a feature film written in sort of acts. The acts may be up to any number, depending on the number of times the producer wants the film to run on TV time, disguised in form of episodes. Example of such TV drama in Nigeria is that of Wale Adenuga's productions' SUPER STORY.



Remember, the first EPISODE is called PILOT. The pilot is the most important part of a TV Drama show. The reason is this; the Pilot: 
(1) Opens the mind of the audience to the kind of theme, genre, mode of story, emotions and suspense they are about to experience in the whole show.

(2) Introduces the central character in the show. The central character is the main character around the story in the show is revolving on.
It doesn't just introduce the main character. It also states the physical and biological nature of the character, and how the character is well adapted for the events that are about to occur inside the story of the whole show.

(3) Introduces the main cast. Apart from introducing just the central character, other characters that are supportive to the central character are also introduced.

(4) Introduces the world in the show. The world in the show means the setting, the theme, the conflict, the villain, the main reason of the story, and the aim of the central & supporting characters in the show.

(5) Provides a testing ground to gauge whether the series will be successful. Here the pilot is serving as a test episode where deliberations are being made if the following episodes could be realistic

(6) Is used to sell the show to a television network. In a situation where a writer or a producer has an intention to sell his show to a network, it's the pilot that would determine how far the deal goes.
The more thrilling and wonderful the pilot, the more the chances of a successful sale deal

(7) Is used to discover whether an entertaining concept can be successfully realized.

(8) It provides prototypes of the shows that are to follow.

(9) A guide to future series more especially when they have not been written

(10) Serving as a tentative model


Things to take note when writing a Pilot 
(1) No back story: Go straight to the point and don't start telling the audience what has happened earlier before now. Go straight to the present story. Write the events happening at moment in which the central character has found himself Write on the current situation. Explore on the current actions. No flashbacks, no montages, no distractions, no back story!

(2) Communicate the shows tone: What's the genre of the show? What's the setting? What's the theme? What's the conflict in the show? Who's the hero and who's the villain? Show at least little details of all the above questions.

(3) Use the pilot to determine how long the series can last: The pilot establishes the nature of the show. It states the story, the theme, the plot, the setting, the cast and the conflict. So in order to, for instance, elongate the series, the writer needs to choose a setting/plot, occupation and state of the characters, theme and conflict that can spontaneously generate stories, actions and dialogues. These help to elongate the series and in turn create more episodes.

(4) Use the pilot to show how every other episode will work; (what will be done repeatedly?) is it going to be close ended mystery? Or will each episode deal with how to solve a particular reoccurring issue.
In some shows, the episodes are distinct. This means that every episode is an entirely different story; and different means of tackling the 'lingering/repeated problems' in the story. Though the episodes follow same theme, setting, plot, same 'lingering/repeated problem/conflict' and same cast ensemble, but then the means of solving the 'repeated problem' will differ. This automatically means that the story must differ. Example is
But in some other shows the stories in the episodes is a continuation of the last one.

(5) Use the pilot to tell which it is in number 4 above


Writing a Pilot is like writing the first five pages of a feature film screenplay.
To write and present the best Pilot, you need to: 
(1) Examine and Master the other episodes to know exactly what's going on (before you even write the Pilot, you should have developed the other episodes)

(2) Spark up an idea

(3) Tell the conflict, the bone of contention, The reason for the events in the story

(4) Build your characters, present them and define them

(5) Show the plot


(6) Write lively and impressive dialogue. TV Drama shows are dialogue driven


There are certain steps a Nollywood Script-writer needs to take in order to sell his Nollywood movie scripts. Click here to get a concise information e book where a Nollywood insider will help you arrange your script and make it ready for submission and sale to Nollywood producers

The first step is to write a;
Script review and synopsis
Write a brief review and synopsis of the script. The review will tell the producer what to expect when he reads the script. Producers don't have time to read scripts. You only need to compel them to read it. It's the duty of Nollywood insiders to help you out. Just get the concise information e book. A Nollywood insider will help you get the script ready. Just click here to get it.


Literally, some other points you need to take note of as a Nollywood script writer are below. But to make things easier for you, just get this concise information e book. It's from a Nollywood insider to help you arrange your script to get it ready for submission 

Continuing with the brief points you might need to take note of; 
  • You need to have a body of work
One screenplay alone may not be enough to break into nollywood. Write more. Write up to three, four, five or more. Explore the entire 'soft' genres. It may be uneasy and burdensome, but you have to try.

  • You need to become a real script writer
What I mean here is that you need to be in script-writing. You need to develop the passion for it. Script-writing needs to be beyond your hobby. Just be determined to make it your source of living.
Screenplay has a lot of components and elements. A real script writer doesn't just write scripts he also studies explicitly those components and elements of screenplay. He goes to the extent of teaching others.
You need to take your time in writing your screenplays. You need to also give in huge effort.

  • Create a channel
Create an outlet. Every business or talent needs to be exported or advertised for consumers or audiences to know about it. Just try and create awareness. You can use social media. You can use your facebook page or you can create a weblog; and in it, you can post regularly your experiences in script writing. You can write short screenplays, post them on the blog and then invite your friends to read them. As you keep on building your weblog, people will see you as someone very busy and passionate with script-writing. A Nollywood film maker may even read all those posts by chance, and may eventually mail you.

Note: while doing all these, make sure you promote your work first and not your name. Promoting your name first may mean you are showing off. Just be humble. Nollywood film makers love humble clients. Your audience will also like what you do if you are humble.
Just get the concise information e book. It's better

  • Go beyond script writing
Study how to rewrite a screenplay. Learn film making. Learn how to teach others. Be a master of screenplay.
Have you ever wondered why only one person in some of the Nollywood movies you have watched did almost all the job? He is the story creator, the writer of the screenplay, the creator of the cast, the producer and the director. 
You may call him 'Jack of all trade'. But no; he is not! This person in question went beyond script-writing. He learnt many other things about film-making. This is the kind of movie business we have in nollywood.
An executive producer may not want too much people to get involved in making his film. When too much people get involved, too much money would be spent. As a result, he opts for someone who knows it all.
Try and know it all if possible. You can develop a story, write, re write, do the casting, budget, schedule, direct and produce it. This will increase your chances of selling you screenplays in Nollywood. It will also help you to be in Nollywood full time. You will now become an executive (smiles warmly).


  • Be determined to become an independent film maker 
 Just try and believe you are going to produce your screenplays into movies yourself. This kind of belief would help drive your urge to learn the other things in film-making. It will help you to be focused.
This is Nigeria for you. Everybody claims to be a film writer. It will be hard for you to convince a producer or film maker to buy your script when he can just scribble one for himself.


  • Attend shows
Yes, just try and attend film shows, festivals, seminars, premier and workshops. At these shows, you can proudly tell people you are script-writer. Get into interview sections. Identify yourself as a good script-writer. Go ahead and mention your outlets like your weblog, website, facebook page. Intimate people your expertise in script-writing and perhaps film making. Through all these, you may shine one day. A film-maker may get interested in you.


  • Get contacts of people whose jobs are in one way or the other related to film making
Follow them on social media. Surround yourself with these people. One day you may get vital information from them. This information may help you sell your screenplay; or it may make you excel in Nollywood.


  • Surround yourself with script writing and film making websites, books, journals, magazines, bulletins and many others
Make script writing be in your life!





Here is a sample screenplay treatment written by AKINTILO SAMUEL, and the original script is for sale. 


TITLE: IRINAJO EDA

GENRE: DRAMA

TARGET AUDIENCE: NOLLYWOOD 

SETTING: NIGERIA-YORUBA

LOGLINE
A determined but uncompromising young woman whose dream is to find a good husband and raise a family is faced with the challenges of marriage after her husband’s health depreciates and her in-laws turn her life into a living hell.

SYNOPSIS
TINUKE’S marriage becomes sour when her husband AKIN’s health starts deteriorating, IYA AKIN, AKIN’S mother makes life miserable for TINUKE together with BASIRA, AKIN’S younger sister because IYA AKIN doesn’t want AKIN to get married. Things get really tensed after TINUKE loses her child and it is discovered that AKIN’S ill-health is spiritually manipulated and his mother may be behind it.

Late 70s. TINUKE is still suffering from the bitter disappointment of having to let go of her true love ADEKUNLE due to a decision she finds really hard to understand when AKIN meets her.
AKIN is visiting his friend MR IBIRONKE who is a senior colleague to Tinuke at work, AKIN develops an interest in TINUKE after hearing glowing remarks about her from his friend. TINUKE rejects every advance AKIN makes.
But AKIN is keen and after some weeks, TINUKE softens her stance and their love affair starts.
     Few days after TINUKE gives birth to her first child, IYA AKIN (AKIN’S MOTHER) invites her to her house and what she tells TINUKE surprises her and at the same time frightens her.
     AKIN’S suddenly starts to fall sick and he’s in and out of the hospital.
     Even though TINUKE is peacefully and quietly going about her marriage, her mother in-law and BASIRA (AKIN’S SISTER) sees her as a threat to their plans and plot to kill her.
TINUKE being a devoted Christian turn to prayer but she is not able to prevent her daughter from dying.
     Some years pass and AKIN’S health keep deteriorating and AKIN’s family accuses TINUKE that she’s behind her husband’s ill health.
     TINUKE’S marriage is now full of sorrow and pain but she is determined not to lose her husband.

SCRIPT REVIEW
This particular script is about 75 pages, the scenes are about 62 scenes divided in 5 ACTS, the script is formatted in courier font style, with page numbering at the right top corner, with characters title at the center of their dialogues, font size (12).

PROP/SETS
An old big house for an extended family setting will be needed.

A office setting with 2 tables and 2 typewriters is required.

A crowd of like 15 is required.

3 different church settings where one in particular with like 9 prayer warriors and another with mission house is required.

Cars and 1 bus will be needed.

An hospital room with 3 beds.

MAIN CAST
TINUKE: A very determined and uncompromising young woman that is disciplined, respectful, polite and from a good family. She is dark in complexion, average height and her accent is refined. Usually she is seen in…………
AKIN: A 40 year old man, tall and attractive in his dark skinned nature, a meticulous and gentle man, a Muslim whose experience abroad made him an unserious but sophisticated Muslim…………

IYA AKIN: A local woman with a strong local accent who will do anything for her daughter even at the expense of her other children…………
BABA AKIN: A rich farmer, who deals in cocoa, he has a big family with so many wives……………
BASIRA: A mean woman who cares only about her interest, a stack illiterate, married to an old man…..

SUPPORTING CAST
ADEKUNLE, SARAH, AKEEM, TAJU, BROTHER ADE, SUNDAY, OLUSHO, MAMA DAYCARE.


CONTACT
AKINTILO SAMUEL
+2348038586248
oladayoakintilo@gmail.com 


NOTE: Your treatment can be up to 2, 3 or more pages depending on the length of your script. And you have to give in your best in order to impress the reader (the potential buyer). The verbs and actions in your LOGLINE and SYNOPSIS must be active and in present tense. Write your expressions as they would appear on the screen in real time. And try and make them comprehensive enough. Just do your best and impress the buyer.


And just don't be afraid! It will never be easy for someone to copy the content in your script after they read your logline/synopsis/treatment. 


Art is so dynamic, and even if anyone developed a story from your logline/synopsis/treatment, it can never be the same with what you have originally. Every art is very unique, and no two arts can ever be the same even if they were from same source.


Read more on how to write a good treatment and review for your scripts here https://scriptsandpapers.blogspot.com.ng/2017/04/to-write-best-treatment-for-your.html 



A treatment should be about 2 , 3 or more pages in length (depending on either short or feature film) and should tell the story and the details in the script in a summarized form from beginning to end. 

Just don't be afraid! It may not be easy for someone to copy the content in your script after they read your logline/synopsis/treatment. 

Art is so dynamic, and even if anyone developed a story from your logline/synopsis/treatment, it can never be the same with what you have originally. Every art is very unique, and no two arts can ever be the same even if they were from same source.

Without much ado, to present the best treatment for your screenplays, Just take these steps below:


1. State the type of work
(movie script, documentary script, TV script or ...?

2. State the target audience (Nollywood, Hollywood, ...?

3. Present the Title and the Genre 

4. Summarize the screenplay
This involves presenting (1) an attractive Log-line and (2) a comprehensible Synopsis; and (3) an expansion of the synopsis into the three act structure. The three act structure has a model:
ACT 1; THE SET UP - the situation, the characters and conflict are introduced
ACT 2: THE CONFLICT - the conflict begins and expands until it reaches a crises
ACT 3: THE RESOLUTION - the crises is resolved

You write a Logline to present the hook in the story, to stimulate interest of the script reader/audience, and to give insight on the synopsis. Read more on Loglines here https://scriptsandpapers.blogspot.com.ng/2016/10/to-write-great-logline-for-your-scripts.html


For the synopsis, you write it to tell the producer what the content of the script is about. It's also to tell him what to expect when he reads the script.
A synopsis is simply a sketchy slight summary of the story in the screenplay.
Read how to write a good movie synopsis here https://scriptsandpapers.blogspot.com.ng/2015/07/a-little-way-to-write-great-synopsis.html

And for the expansion of the Synopsisyou have to observe the three act structure and give a detailed and comprehensible highlights of the events in each of the ACTS.
It should be written in the present tense, showing what the viewer will see on the screen from one scene to the next, describing the action but omitting the dialogue.
It is written in a way that allows the reader to enter far enough into the drama to understand the ways in which the story and characters will be treated, including a vivid sense of the characters' and story's attitudes as well as the movement of the emotional energy and its relationship to what the story is about. 
It's simply a prose narrative that presents the characters and events of a proposed script. And to make it easier for yourself, just observe the 3 ACTS structure. And depending on the length you want your treatment to reach, you can write up to: 
1-3 paragraphs in ACT 1; THE SET UP - the situation, the characters and conflict are introduced
2-6 paragraphs in ACT 2: THE CONFLICT - the conflict begins and expands until it reaches a crises
1-3 paragraphs in ACT 3: THE RESOLUTION - the crises is resolved

Most importantly, tell the story and don't explain it. Make it very active just like the way you wrote the script. The only difference is that it doesn't have the 'dialogues' like the main script.

NOTE: Even if your story is not based on the 3 ACTS structure model as applicable to most amateur scripts, Just make sure you adhere to the other rules about telling the story.
  

5. Review the script
Make a brief review of the script. Tell the producer what the script looks like. Write out the properties. Make a review, or a list of;
(i)the number of pages,
(ii)the possible number of scenes
(iii)the various timings
(iv)the setting
(v)the locations
(vi)the props required
(vii)the gadgets and tools required for the actions

6. Do a brief casting
(i)Write on the characters. Describe their physical and internal features and behaviors.
(ii)State the conditions for the actors that will play the roles
(iii)State the characters needed in most important scenes

7. Include your contact 
Your phone number, your email address and any other important contact

See an example of already written treatment for a screenplay here https://scriptsandpapers.blogspot.com.ng/2016/11/example-of-reviewed-movie-script-for.html



Written by: Winston Oge
When you want to turn your story/novel into a screenplay, do you know what to do? Just get the novel and simply insert the elements of a screenplay in it, that's all!
The elements of a screenplay include; SLUGLINE (SCENE HEADING), ACTION, CHARACTER NAME, DIALOGUE, INTERCUT, FLASHBACK, DREAM SEQUENCE, EXTENSIONS, TRANSITION, SHOT, ADLIBS, MONTAGE. See them here @ this link
https://scriptsandpapers.blogspot.com.ng/2014/06/how-to-write-screenplay.html


Before you do the above, you must first work on your novel and make it screenplay-worthy.
You need to handle these points below.

(1) Decide on the length of the screenplay you wish to obtain.
The duration of a feature film depends on the number of pages of its screenplay. A page with courier font style, and font size twelve is equivalent to one minute of screen time. Sixty pages is equal to one hour.  A normal feature film should be about ninety pages, that is one hour and thirty minutes of screen time.
The reason for this analysis is that not everything in your novel should be in the screenplay; you need to cut somethings out. Or the other way round, if your novel doesn't have enough content to make a feature film of one about hour thirty minutes,  then you need to add more content to the screenplay.
In both cases, you can adjust (increase/decrease) the number of characters, actions, dialogues, scenes and props.
Sometimes this proves difficult as it's not easy to just eliminate some characters because it may affect the whole story and consequently may cause frustration to the writer. Anyway, a way out is to eliminate unimportant scenes, and then say what happened in the scenes through the dialogues. As the unimportant scenes are eliminated, some characters that appeared just only in those scenes are automatically deleted.
Again you need to choose the dialogues that pulsate with actions.

(2) Correct the Point of view
A screenplay is written in 3rd person point of view. This means you must adjust your novel if you wrote it in 1st person point of view. 'I', 'me', 'my' and 'mine' should change to 'she', 'he', 'her', 'his', 'them', 'they' 'their' and 'theirs'

(3) Decide where to start from, and the scene to choose first
You must not necessarily start in your screenplay the way you started in your novel. But make sure whatever you do does not disorganize your story.

(4) Re-write the novel in drama form
Meanwhile, it is easier to turn a piece written in drama form into a screenplay than that written in prose form. Turning your novel into a screenplay may be easier for you when you first convert the prose to a drama. This may be a long process though, but it's useful.  Learn more about the differences between 'to adapt a book into a screenplay' and 'to turn a book into a screenplay' here.


A screenplay is just like the novel/story which you have written, but the only striking difference is that what you would write in a screenplay is more organized and arranged using a format.
That is to say it's freer to write all the words you have for your novel, but for a screenplay, there are rules guiding you. You are no longer free to write those words anyhow you like, but you must learn the format with which you must write and hence be guided by it.

Screenplay could be defined as a story/novel whose wordings have been classified and placed in separate profiles using a stipulated format.
The profiles are the elements of a screenplay and they are arranged and presented in a format.
The elements of a screenplay include;
SLUGLINE (SCENE HEADING), ACTION, CHARACTER NAME, DIALOGUE, DUAL DIALOGUE, INTERCUT, FLASHBACK, DREAM SEQUENCE, EXTENSIONS, TRANSITION, SHOT, ADLIBS, MONTAGE, POETRY,
they have a format with which they are presented, and they serve as the profiles in which the wordings from your story/novel are placed.

For illustration:
The main features of a novel are
(A) the characters,
(B) their body movements/external actions and behaviours,
(C) their internal actions,
(D) their voices, and
(E) the time and place/position at which their actions take place.

While turning your novel into a screenplay, all of the above listed features of your novel must fall into a particular profile/element of a screenplay.

(B), their body movements/external actions and behaviours must fall in ACTION

(D), their voices must fall in DIALOGUES

(E), the time and place/position at which their actions take place must fall in SLUGLINE

(A), the characters must fall in CHARACTER NAME

(C), their internal actions must fall in DIALOGUES or MONTAGES where the characters must tell or show the audience who they really are and what they are up to

Various other features may come up and the elements of a screenplay is enough in number to accomodate the features. Every word you inject in a screenplay must fall into a particular element to allow a proper format.

The reason and need for this format is to enable the writer to write his story they way it should appear on the TV screen, to enable the actors learn and master their roles very well, and to enable the film-maker to schedule the shooting using various fim-making tools, shots and props at various locations with selected actors.
The aim of a screenplay is to get whatever words and actions in your story/novel to the TV screen so that all the details contained in the novel, some of them which the readers only imagined how they were carried out by the characters can be seen live on the TV screen.
The format for a screenplay serves as a template which roles out sequentially with explicit details of the scenes present in the screenplay from the very first scene to the very last one.
So the main tactics for writing a good screenplay is to write it the way it's supposed to be perceived by the audience when they watch the movie on the TV screen. This means you are writing for the audience who are sitting before a TV screen! Show don't tell!

Now see how all the elements of a screenplay are formated @ this link
https://scriptsandpapers.blogspot.com.ng/2014/06/how-to-write-screenplay.html

Meanwhile,
(i) Scene heading describes where and when a particular scene is taking place. It consists of the exact location (either interior or exterior of that location), and the exact time at which the actions in that scene hold.
(ii) You have to write the scene heading in such a way a screenplay reader sees himself right inside the scene. This happens when the scene heading is descriptive enough.
(iii) Write the actions as they should appear on tv screen. This means your verbs must be in present tense.
(iv) Use actionable words
(v) Active voice
(vi) Use transitive verbs except in quoted words or references
(vii) All actions must be written in real time as they occur.
(viii) Avoid using indirect descriptions, figurative expressions, phrasal verbs. Just be go straight to the point.
For instance instead of using 'she looks like the morning star' Use 'she is beautiful' or 'she looks gorgeous''
(ix) Write actionable dialogues
(x) Make the dialogues very engaging between and among the characters.


Written by: Winston 'Winny Greazy' Oge 
Follow on twitter: https://twitter.com/winny_greazy 
Facebook: https://facebook.com/winny.greazy



Here is a sample screenplay treatment written by AKINTILO SAMUEL, and the original script is for sale.



TITLE: IRINAJO EDA

GENRE: DRAMA

TARGET AUDIENCE: NOLLYWOOD 

SETTING: NIGERIA-YORUBA

LOGLINE
A determined but uncompromising young woman whose dream is to find a good husband and raise a family is faced with the challenges of marriage after her husband’s health depreciates and her in-laws turn her life into a living hell.

SYNOPSIS
TINUKE’S marriage becomes sour when her husband AKIN’s health starts deteriorating, IYA AKIN, AKIN’S mother makes life miserable for TINUKE together with BASIRA, AKIN’S younger sister because IYA AKIN doesn’t want AKIN to get married. Things get really tensed after TINUKE loses her child and it is discovered that AKIN’S ill-health is spiritually manipulated and his mother may be behind it.

Late 70s. TINUKE is still suffering from the bitter disappointment of having to let go of her true love ADEKUNLE due to a decision she finds really hard to understand when AKIN meets her.
AKIN is visiting his friend MR IBIRONKE who is a senior colleague to Tinuke at work, AKIN develops an interest in TINUKE after hearing glowing remarks about her from his friend. TINUKE rejects every advance AKIN makes.
But AKIN is keen and after some weeks, TINUKE softens her stance and their love affair starts.
     Few days after TINUKE gives birth to her first child, IYA AKIN (AKIN’S MOTHER) invites her to her house and what she tells TINUKE surprises her and at the same time frightens her.
     AKIN’S suddenly starts to fall sick and he’s in and out of the hospital.
     Even though TINUKE is peacefully and quietly going about her marriage, her mother in-law and BASIRA (AKIN’S SISTER) sees her as a threat to their plans and plot to kill her.
TINUKE being a devoted Christian turn to prayer but she is not able to prevent her daughter from dying.
     Some years pass and AKIN’S health keep deteriorating and AKIN’s family accuses TINUKE that she’s behind her husband’s ill health.
     TINUKE’S marriage is now full of sorrow and pain but she is determined not to lose her husband.

SCRIPT REVIEW
This particular script is about 75 pages, the scenes are about 62 scenes divided in 5 ACTS, the script is formatted in courier font style, with page numbering at the right top corner, with characters title at the center of their dialogues, font size (12).

PROP/SETS
An old big house for an extended family setting will be needed.

A office setting with 2 tables and 2 typewriters is required.

A crowd of like 15 is required.

3 different church settings where one in particular with like 9 prayer warriors and another with mission house is required.

Cars and 1 bus will be needed.

An hospital room with 3 beds.

MAIN CAST
TINUKE: A very determined and uncompromising young woman that is disciplined, respectful, polite and from a good family. She is dark in complexion, average height and her accent is refined. Usually she is seen in…………
AKIN: A 40 year old man, tall and attractive in his dark skinned nature, a meticulous and gentle man, a Muslim whose experience abroad made him an unserious but sophisticated Muslim…………

IYA AKIN: A local woman with a strong local accent who will do anything for her daughter even at the expense of her other children…………
BABA AKIN: A rich farmer, who deals in cocoa, he has a big family with so many wives……………
BASIRA: A mean woman who cares only about her interest, a stack illiterate, married to an old man…..

SUPPORTING CAST
ADEKUNLE, SARAH, AKEEM, TAJU, BROTHER ADE, SUNDAY, OLUSHO, MAMA DAYCARE.


CONTACT
AKINTILO SAMUEL
+2348038586248
oladayoakintilo@gmail.com 


NOTE: Your treatment can be up to 2, 3 or more pages depending on the length of your script. And you have to give in your best in order to impress the reader (the potential buyer). The better your treatment, the greater your chance of selling your script.
And Just don't be afraid! It may not be easy for someone to copy the content in your script after they read your logline/synopsis/treatment. 

Art is so dynamic, and even if anyone developed a story from your logline/synopsis/treatment, it can never be the same with what you have originally. Every art is very unique, and no two arts can ever be the same even if they were from same source.

Read more on how to write a good treatment and review for your scripts here https://scriptsandpapers.blogspot.com.ng/2017/04/to-write-best-treatment-for-your.html