Module 2

Program Proposals
and Treatments

Okay, you now know who does what, and you have an overview of the basic production process. Let's move on to the actual process of doing a TV production.

Even though you may have a clear idea in your head of what you want to get across in a production, unless you can clearly communicate that idea to the people who can help you launch your production, that's just where your idea will stay — in your head.

The "people who matter" include the producer and director, the production crew, a sponsor or whoever covers the cost of the production, and, most importantly, your audience.

So, where do you start?
   

Writing the Program Proposal or Treatment

The first step in doing a complex production is to write down a clear and succinct summary of your ideas.

This written summary is referred to as a treatment in dramatic productions and a program proposal in non-dramatic productions.

A sample program proposal for a local TV station is illustrated here.

Often, just the process of putting it all down on paper allows you to better organize and clarify your ideas. This step often reveals weaknesses and gaps so they can be addressed before it's too late (or before you are asked about some embarrassing details that you didn't think of).

Get Agreement On Your Proposal

Getting the go-ahead on a proposal also affords everyone a bit of insurance. Once everyone agrees on the treatment or program proposal it's difficult for someone to say later, "This isn't what we agreed on."

This is especially important in large production facilities and television networks where a variety of people will be involved in program development.

A simple program proposal may be just a couple of pages, or, in the case of a feature-length dramatic production, a treatment can run 60 or more pages.

This is as good a place as any to mention the importance of writing. Yes, I know, you've heard that since you were in the fourth grade. There may even be some people out there who decided to go into TV (rather than print journalism, for example) because they thought they might be able to escape having to really learn how to write.

Sorry.

Although it's a visual medium, TV is still based on the written word. When you really get down to it, your ability to write and effectively communicate your ideas ends up being the most important criterion for success.

Unless you want to stick with some very basic jobs in TV, you have to face this reality—and the sooner the better. Interestingly, most film producers (the head honchos, remember?) arrived at their jobs by first being writers.

Wouldn't you rather end up being someone who makes the major decisions (and is paid accordingly)?

Okay, back to treatments and program proposals. Although they are written as an aid in presenting and getting agreement on the focus and direction of the production, they may also be used to interest key people in supporting the production—especially financial backers.
   

See that Your Proposal Engages the
Audience's Interest and Imagination

A program proposal or treatment should cover the focus or essence of the production; or, in the case of a dramatic production, the basic story line. Dramatic treatments also include the locations and talent required, and the key scenes.

In non-dramatic program proposals the basic production needs and the approximate times of the segments are included.

Anyone reading a program proposal or treatment should be able to get a clear idea of the whole production. If there is disagreement on the program concept it will be much easier to change things at this stage rather than after the complete script is written.

Brief instructions writing a treatment can be found here.

Finally, the treatment or program proposal must engage the interest of readers and go a long way towards convincing them of the probable success of the production—which brings us to the next section.

Required Reading For This Module