Articles by "WRITER'S STORE"
Showing posts with label WRITER'S STORE. Show all posts


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
The need for copywriting is to create an awareness about a brand or talk about services to be offered. And the goal of the copywriter is to grab readers' attention and encourage them to purchase the brand or make use of the offered services.
For the copywriter to achieve this goal, he must create a very remarkable content that the reader finds very interesting and valuable.
A copy must be at it's best in order to yield good results. A copywriter should discover the best ways to achieve this.

Below are 6 good copywriting tips

1. Use related keywords
Observe the SEO.
SEO- Search Engine optimization is the act of trying to get ranked in the top results on a search engine such as Google. This is achieved by finding the keywords that are about what (the brand or services) you are writing on. Copywriting is mostly done online - blogs, websites, email boxes; hence the need for SEO.
Focus on your brand, write more on the keyword of the brand, and also try and include all the phrases that can build up the keyword.
For instance; when you are writing on ''phones''.
KEYWORD = ''PHONES''
PHRASES/CLAUSES = ''DURABLE UK PHONES'' ''IMPORTED PHONES THAT CAN LAST LONGER'' ''SMART PHONES WITH STRONG BATTERY LIFE''
These phrases/clauses are often called LONG TAIL KEYWORDS

2. Use enticing headlines 
Use headlines your readers can never resist. These headlines should draw their attentions.

3. Take time and advertise your brand
Copywriting is all about advertising your brand. You have to give all the marketable and beneficial information about the brand.
Your aim is to market a brand and you have to put the right words together. Copywriting is essentially moving words around to sell better.

4. Include compelling offers
Offer what a typical prospective buyer cannot reject. You can tell your reader to save some money when they buy your brand, simply because you are taking some percentage off the original cost.

5. Use engaging lines
Tell your readers you have already made reservations for them, tell them you have already informed your MD about their willingness to buy the offered brand, or tell them that you have figured out the best for them.

6. Write to offer solutions 
Outline to the readers the unwanted issues they may have faced in the past, and then propose to offer solutions this time.

The 7th tip should be to request your readers' actions.
Tell them you are waiting for them to take a decision.  Avoid weasel words (words that avoid a direct command). Do not use passive voice. Just instruct them on what to do.



It takes a professional writer and a good copywriter to put up a copy that can sweep off a reader's feet. Even if you are not a good copywriter yet, here are just 4 tips for you to improve on copywriting
1. Learn why people hire copywriters. The more you learn, the more you discover how dynamic copywriting could be.
2. Do copywriting exercises everyday. Simply, practice makes perfect.
3. Be determined to create a career path with copywriting. This will make you work harder and get more focused.
4. Always refer to copywriting books and materials.

You can get a lot of comprehensive copywriting advice and tips from NET-CONTENT. There are a lot of experienced professional writers that can offer you good copywriting tips.
Many websites also give copywriting advice, but NET-CONTENT is the best.

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 



SCENE HEADING 
Formating:- Flush left from the edge of the paper.
You can read more on how to format a screenplay here.
(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.

ACTION
Formating:- Same as the scene heading
(i) Write the actions as they should appear on tv screen. This means your verbs must be in present tense.
(ii) Use actionable words
(iii) Active voice
(iv) Use transitive verbs except in quoted words or references
(v) All actions must be written in real time as they occur.
(vi) 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''

CHARACTER NAME
Formating:- Indented 3.5 from left margin

DIALOGUE
Formating:- Indented 2.5 from the left margin

PARENTHETICAL
Formating:- Left indented 3.0 and right margin 3.5



EXTENSIONS (O.S, V.O) 
Formating:- S.O. directly to the right of character name. 
V.O., same as in O.S

TRANSITION (cut to) 
Formating:- left margin is 6.5. 
(i) It follows action and precede Scene heading)

SHOT (angle on, insert) 
Formating:- As in scene heading

DUAL DIALOGUE 
Formating:- Side by side normal dialogue

ADLIBS
Formating:- In action line or normal dialogue

ABBREVIATIONS (M.O.S, C.G.I, P.O.V)
Formating:- In action line

MONTAGES
Formating:- as a single shot)
(i) Series of scenes related and building to one conclusion

SERIES OF SHOTS  
Formating:- as shot, action paragraphs
(i) Similar to montage, but takes place in one location and concerns same story

SHORT LINES/POETRY/LYRICS 
Formating:- song lyrics is a dialogue but in caps

INTERCUTS
Used instead of repeating scene heading

You can read more on how to format a screenplay here.


Written by: Winston 'Winny Greazy' Oge

Follow on twitter: https://twitter.com/winny_greazy 
Facebook: https://facebook.com/winny.greazy
Here are a few questions you need to show answers to help you plan and write a screenplay
  • Do you have a good story?
  • Have you created your characters? 
  • What's your hero's internal conflict like?
  • What's your hero's external conflict like? 
  • Are both the internal and external conflicts affecting each other? 
  • What impacts do both the internal and external conflicts have on the hero, the villain, and their adherents? 
  • Do you have effective support for your hero? 
  • How will the hero finally overcome the villain? 
  • Do you have thrilling moments that can excite the audience? 
  • Did you create an 'ending' that can never be forgotten so easily? 
  • Have you organized your story? 
  • Have you given your characters the best look? 
  • Do you need to shorten or increase the length of the story in order to get a short or long screenplay?
  • Are you ready to write now? 
Once you can show/provide positive answers to all the questions above, you are already having a screenplay.

Now, below, let's analyze how you can build answers to the questions. It will help you plan and write your screenplay.

  • Get a story
Develop a beautiful story. A story that arouses the different feelings of its audience is a beautiful story.
A beautiful story is a story which is rare, mysterious, incredible yet convincing, touching, culture diverse and multidimensional.
Create your story from a raw idea
so it can stand out from the rest, and that will make it a beautiful story. A raw idea is that idea only you can generate if you search your heart very well. It's a result of all the experiences you encounter in you daily life.

  • You may not bother about creating your characters yet
In the course of all the other steps below, your characters (the hero, the villain, the supporting characters and the rest) would have created themselves. All you would need to do at the end is to refine them and give them the qualities and characteristics that would best suit the story and the screenplay.

  • Create the internal conflicts  
The internal conflicts are for the supposed hero/the main character.
(Remember the characters have not been fully created. The proposals being put up are just tentative for now).
Just go ahead and create the internal conflicts. Internal conflicts are simply those impediments that affects the hero's ability to put up a tremendous fight against the external conflict which is caused by the villain. Internal conflicts are usually the personal, family or communal problems or issues which are encountered by the hero. Read more on internal conflicts here and here

  • Create the external conflict 
External conflict is the main bone of contention in a story.
This is where the thrills and impact  of a movie lies.
It is the main fight/competition between the hero and the villain.
For a story, a screenplay or a movie to be ..., the external conflict must be 'tough'
External conflict is the heart of the story or movie. It is what holds down an audience. Once the external conflict is described to an audience, their understanding and interest about the story or movie is affected.
A movie is thrilling and entertaining once it has a two or three group in competition for a course. This competition is the external.
An audience, in order to ascertain what the thrills of a movie is like, they ask questions such as: What's the matter? What's the contention? What are they fighting for? What's at stake?
Once a writer can answer these questions, the external conflict in his story is established.
Read more on external conflicts here 

  • Make both the internal and external conflicts depend on each other
The internal should affect the external and vice versa.
Let the internal always thwart the fight against the external.
Also let the fight against the external help expose the existence of the internal.
Again, let the external when fought and conquered help solve completely the internal, and vice versa.
With an illustration, it's just like in a situation where a well grown brilliant coward thought he could use his intelligence to outwit and eliminate his fathers greatest enemy, but little did he know that the enemy was as brilliant as he is. The only remedy was bravery after it was discovered that the enemy too was a weakling when it comes to real physical fight. The well grown man is a coward, so in order to win the enemy whom is a weakling, he must get back home and pick up some courage.
To analyse this, the grown man's internal conflict is cowardice. And again, he didn't know cowardice could thwart his fight against a villain. When it was discovered that the villain is also as intelligent as he is, he had to find another means of fighting him - and that's real face-to-face fight. He needs some courage to engage in this fight, thus he had to first of all settle his internal conflict - cowardice.
So after he would have conquered the enemy, his internal problem, cowardice would have been checked. This is how internal and external conflicts depend on each other.

  • Develop the impacts and effects of the conflicts on both the hero and the villain, and on their respective adherents
The hero's lovely people and supporters, as well as those of the villain must feel the pains and gains of the ongoing conflicts; as the case may be.

  • Create a support, a guide, a counsellor, a friend or a helper for the supposed hero
This help or support would come from the supposed
supporting characters. They are a very important friend to the hero, and they are the ones who may guide the hero to conquer the villain.

  • Create the escape route, a way out for the hero to conquer the villain
Apart from the hero having a guide, a counsellor, or putting a check to his internal conflicts, there should be a means either tactically designed or by a divine intervention through which he will finally escape or defeat the villain.
This is the turning point, that final moments the hero makes the courageous moves, after he has solved his internal conflicts and counselled by his counsellor, to defend, escape and conquer the villain.

  • Develop exciting moments
Moments after moments, that's how a scene goes by. And scene after scene, that's how a story goes by. What makes an audience love a story is the exciting moments therein.
To develop exciting moments, let every dialogues and actions by the characters take the audience by surprise.

  • Develop a good ending
Let the end be unforgettable. All the characters in the story must be affected at the end. Their

  • Sharpen your story
(i) Install your theme properly.
The theme is the message has to send to the audience.
(ii) Organize the Plot.
There must be a sequence. The three act structure (The beginning, The climax and The End) of a story which makes a typical screenplay must be in place
(iii) Define the setting:
There must be a defined setting.
(iv) Set up the Locations and timings

  • Sharpen your characters
By now, the whole characters would have been created based on the story build-up so far. Now they need to be refined and redesigned to fit in properly.
To do this, take time and point out all the characters you encountered as you were observing all those procedures above. Write them out and identify all the roles they played in the course of the procedures. This will help you finetune their monologues and dialogues, recreate the behaviours and restructure their physical make-up.

  • Decide the length of your story/screenplay 
It's very easy to keep your story at a particular desired length. All you need to do is to adjust the frequency of events, the time it will take a particular course to be achieved, the number of characters, number of actions and the different dimensions involved in each of the points already listed above. 

  • Start writing things down, in prose form first of all
Before arriving at this point, you would have scribbled some things down. Now put those things together and create a content. Make it your screenplay in prose form. And make it sequential; let it have a well defined beginning and a befitting ending.

  • Start writing your screenplay now! 
You are now free and qualified to write your screenplay. It's going to be very easy now. The only thing is just to get the format for a screenplay and start building your own screen from the prose you've created.
The format is based on writing the screenplay using the proper formating guidelines of the elements of screenplay.

See the elements of a screenplay and their formating below.

SCENE HEADING 
Formating:- Flush left from the edge of the paperSee example here
(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.
Read more on formating scene heading here.

ACTION
Formating:- Same as the scene heading
(i) Write the actions as they should appear on tv screen. This means your verbs must be in present tense.
(ii) Use actionable words
(iii) Active voice
(iv) Use transitive verbs except in quoted words or references
(v) All actions must be written in real time as they occur.
(vi) 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''

CHARACTER NAME
Formating:- Indented 3.5 from left margin
Read more on formating character name here.

DIALOGUE
Formating:- Indented 2.5 from the left margin
Read more on formating dialogue here.

PARENTHETICAL
Formating:- Left indented 3.0 and right margin 3.5

EXTENSIONS (O.S, V.O) 
Formating:- S.O. directly to the right of character name. 
V.O., same as in O.S

TRANSITION (cut to) 
Formating:- left margin is 6.5. 
(i) It follows action and precede Scene heading
Read more on formating transition here.

SHOT (angle on, insert) 
Formating:- As in scene heading
Read more on formating shots here.

DUAL DIALOGUE 
Formating:- Side by side normal dialogue
Read more on formating dual dialogues here

ADLIBS
Formating:- In action line or normal dialogue
Read more on formating adlibs here.

ABBREVIATIONS (M.O.S, C.G.I, P.O.V)
Formating:- In action line

MONTAGES
Formating:- as a single shot)
(i) Series of scenes related and building to one conclusion
Read more on formating montages here.

SERIES OF SHOTS  
Formating:- as shot, action paragraphs
(i) Similar to montage, but takes place in one location and concerns same story

SHORT LINES/POETRY/LYRICS 
Formating:- song lyrics is a dialogue but in caps
Read more on formating poetry, lyrics, rhymes here.

INTERCUTS
Used instead of repeating scene heading
Read more on formating intercuts here.

FLASHBACKS
Read more on formating flashbacks here.

DREAM SEQUENCE
Read more on formating dream sequence here

You can read more generally on how to format a screenplay here.


Written by: Winston 'Winny Greazy' Oge

Follow on twitter: https://twitter.com/winny_greazy 
Facebook: https://facebook.com/winny.greazy