Submitting a film treatment is a pivotal moment for any screenwriter. It marks the transition from solitary creation to potential collaboration, and the subsequent period can feel like navigating a black box. Ultimately, what happens after you send in a film treatment depends entirely on who you sent it to and why, but generally, it initiates a complex process of evaluation, discussion, and potential development – or, unfortunately, silence.
From Inbox to Evaluation: The Initial Stages
The immediate aftermath is characterized by waiting, a nerve-wracking period that can feel both exhilarating and agonizing. The recipient, be it a production company, agent, manager, or individual producer, now holds the fate of your project in their hands. Understanding the initial stages of their process is crucial for managing expectations.
A Flood of Submissions
Recognize that studios, production companies, and agencies are inundated with submissions. Your treatment competes with countless others, vying for attention. The sheer volume dictates that not every treatment receives immediate or even detailed consideration. Expecting an instant response is unrealistic.
Initial Screening and Coverage
The first hurdle is typically an initial screening. Often, a junior staff member or intern will read the treatment to determine if it meets basic criteria – a viable concept, compelling characters, and adherence to basic storytelling principles. This initial assessment often culminates in coverage, a brief written report summarizing the treatment and providing a recommendation (pass, consider, or recommend). Strong coverage dramatically increases the chances of the treatment being read by someone with decision-making power.
Escalation to Decision-Makers
If the coverage is positive, or if the treatment was sent directly to a decision-maker, it moves further up the chain. Producers, development executives, or agents will then read the treatment and assess its potential. This stage involves more in-depth consideration of the story’s marketability, budget requirements, and overall fit with the company’s current slate or the agent’s client roster.
The Decision Process: Greenlight or Grounded?
The decision-making process varies considerably depending on the recipient. Larger studios typically have a more structured, bureaucratic process involving multiple levels of approval. Smaller independent production companies might be more agile and make decisions more quickly.
Factors Influencing the Decision
Numerous factors influence the ultimate decision, many of which are beyond the screenwriter’s control. These include:
- Market Trends: Is the concept timely and relevant to current audience interests? Are there similar projects already in development?
- Budget and Feasibility: Can the story be realistically produced within a reasonable budget? Are there any significant logistical challenges?
- Talent Attachments: Does the treatment attract potential directors, actors, or other key personnel who can elevate the project?
- Company Strategy: Does the project align with the company’s overall strategy and target audience?
Potential Outcomes
The possible outcomes range from outright rejection to an option agreement.
- Rejection: This is the most common outcome. Treatments are often rejected for reasons unrelated to their inherent quality, such as an oversaturation of similar projects or a lack of alignment with the company’s needs.
- Request for More Material: A promising sign, this indicates that the recipient is intrigued by the concept and wants to see a full script.
- Meeting Invitation: This is a significant step forward. It signals genuine interest and provides an opportunity to pitch the project in person and discuss potential development.
- Option Agreement: An option agreement grants the recipient exclusive rights to develop the project for a specified period (typically 12-18 months) in exchange for a fee. This does not guarantee that the film will be made, but it represents a significant investment and a strong indication of interest.
Navigating the Silence: What to Do While You Wait
Silence can be deafening after submitting a treatment. It’s crucial to manage expectations and use the waiting period productively.
Don’t Obsessively Follow Up
While it’s acceptable to send a brief follow-up email after a reasonable period (typically 2-4 weeks), avoid being overly persistent or demanding. Remember that recipients are busy, and excessive follow-up can be counterproductive.
Continue Writing
The best way to cope with the uncertainty is to focus on new projects. Keep writing, developing new ideas, and honing your craft. This demonstrates your dedication and ensures that you always have something fresh to pitch.
Network and Build Relationships
Networking is essential for any screenwriter. Attend industry events, connect with other writers and filmmakers, and build relationships. These connections can open doors and increase your visibility.
Frequently Asked Questions (FAQs)
Here are some commonly asked questions about what happens after you send in a film treatment, designed to provide practical guidance and address common concerns.
FAQ 1: How long should I wait before following up on my treatment submission?
Wait at least two to four weeks before sending a brief, polite follow-up email. Avoid being pushy or demanding. A simple “Just checking in” will suffice.
FAQ 2: What should I do if I receive a rejection?
Don’t take it personally. Rejection is a common part of the writing process. Analyze the feedback, if any, learn from it, and move on to your next project.
FAQ 3: Should I send my treatment to multiple recipients simultaneously?
Generally, it’s considered best practice to submit to one recipient at a time. This demonstrates professionalism and allows you to focus your efforts. However, it’s acceptable to send to multiple agents/managers simultaneously.
FAQ 4: What is an option agreement, and what does it entail?
An option agreement grants the recipient the exclusive right to develop your project for a specific period in exchange for a fee. It doesn’t guarantee that the film will be made, but it’s a significant indication of interest. The agreement will outline the option fee, the option period, and the terms of the purchase agreement if the recipient chooses to buy the script.
FAQ 5: What is the difference between an option and a purchase?
An option is the right to consider buying your script. A purchase is the actual transaction where they buy the rights to your script outright.
FAQ 6: What if I don’t hear back at all?
Silence is unfortunately common. After a reasonable follow-up, it’s best to assume that the recipient is not interested and move on.
FAQ 7: Should I copyright my treatment before sending it out?
Yes, it’s advisable to register your copyright with the U.S. Copyright Office before submitting your treatment. This provides legal protection for your work.
FAQ 8: Is it better to send a treatment or a full script?
It depends on the recipient. Agents and managers typically prefer a full script, while production companies may be open to treatments, especially for original ideas. If unsure, research the recipient’s submission guidelines.
FAQ 9: How important is the query letter that accompanies my treatment?
The query letter is your first impression. It should be concise, compelling, and clearly articulate the logline, genre, and target audience of your project. A well-written query letter can significantly increase your chances of getting your treatment read.
FAQ 10: What are some common mistakes writers make when submitting treatments?
Common mistakes include: poor formatting, grammatical errors, a weak logline, and a treatment that is too long or too short.
FAQ 11: How can I improve my chances of getting my treatment read?
Improve your chances by: crafting a strong logline, writing a compelling treatment, targeting the right recipients, networking effectively, and following submission guidelines meticulously. Persistence and craft are your strongest allies.
FAQ 12: Should I get feedback on my treatment before submitting it?
Absolutely. Get feedback from trusted sources, such as other writers, script consultants, or industry professionals. Constructive criticism can help you identify weaknesses and improve the overall quality of your treatment.
The journey from treatment submission to a produced film is long and arduous. Understanding the process, managing expectations, and continuously honing your craft are essential for navigating this challenging but ultimately rewarding path.