1) Short. Two pages, double spaced. I was shocked at just how short this was but at once realised it was a great discipline for a writer to get to grips with what the story was really about.

2) Present tense.

3) Format: title, name, contact information and one sentence logline. If you’re really unsure what kind of treatment to do, ask.

4) Hook. It should be the first sentence; at the very latest, the end of the first paragraph.

5) Conflict. Dramatise your central conflict. Leave out subplots; if you write a great treatment, they’ll be read in the script!

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The main change is the way in which audiences are looking to view films.

Who is the scene's protagonist (who is driving the scene)?

What is the character actively trying to make happen?

Who has the 'big moment' in the scene?

What does s/he want?

What are the obstacles to obtaining that want? (Make sure we know what the scene's protagonist wants before the end of the scene.)

What is the information the audience need to know in the scene?

Is what is important, clear among the other detail?

What is carrying the scene - action or dialogue?

What is the cause and effect within the scene?

Please click on the attachment: We are all responsible for the permanent crisis in the British film industry_Julian Friedmann.PDF

10. Formats and fripperies – Un-numbered pages, bad spelling and the writer's name and copyright as a footer on every page are turn-offs.

9. Concepts and caveats - Any idea is a pitfall; what is important is how the idea is told. With the caveat that there is no such thing as a totally unworkable concept.

8. Commercial viability – It's crucial that the writer is true to him or herself, expressing his or her unique world view, otherwise the work will lack truth. However, writing without any idea of a potential audience is a pitfall to avoid.

**7.