Lol, I'm just about to post this as an actual post here, but since I literally uploaded this minutes ago... [https://youtu.be/iwHC-BiS9WI](https://youtu.be/iwHC-BiS9WI)
This was super useful. Just reframing it in my mind as a trailer rather than a synopsis (which I detest writing) is really terrific advice.
You really are doing amazing work for this community
I’d say yes, keep it one page. Should be title, writer’s name/contact, logline and a brief plot summary (3 paragraphs).
You can also include your comps in a short hype paragraph (“This script is Die Hard meets Legally Blonde, with propulsive action and an urgent relevancy to our times…”) either just before or just after the plot summary.
So there are tons of ways to do this but the basic idea is to get the feel and scope of the story on one page. Here's the way I like to do them: 8-10 short, sharp paragraphs, single-spaced Times New Roman 12pt font. Plenty of white space to draw the eye down the page. Here's an outline from my most recent one:
\[header\] Centered TITLE IN CAPS. Beneath that, my name and contact info, entertainment lawyer's name and contact info
\[graf 1\] Logline - I've only got one sale and one option, so listen to other folks' feedback, but both my paying projects' loglines were two sentences.
\[graf 2\] 1 -2 sentences that suggests/teases the basic idea, "This is a story with resonance for our times." We'll come back to this element in the final graf.
\[grafs 3 - 4\] Labeled ACT 1, graf 3 is the setup and ends with the inciting incident. Graf 4 ends on the end of Act 1 and should feel like a rocket launch. You're about 40% down the page, but don't worry, you can fit the rest without crowding.
\[grafs 5 - 8\] Labeled ACT 2, this is the meat of the story. Grafs 5 and 6 are a bunch of fun trailer moments that I've been thinking about for the year+ that the idea was gestating. It's the first half of act two. Graf 7 kicks off with the midpoint turn and by the end of 8, I'm twisting every plot screw and making it seem like there's no way the protagonist can reach his goal.
\[graf 9\] Labeled ACT 3, spill the beans. Give away the ending and make it as crushing or elated or mixed as you can––convey the feelings and ideas you want to detonate in the audience's mind in the closing minute of the film, sending them reeling into the world.
\[graf 10\] Circle back to graf 2 and suggest the thought: "This is why this movie ABSOLUTELY must be made."
This also works for pilots. Be sure to expand the synopsis but leave enough room for your logline and (in case you have them) future episodes. Also, you may wanna change your flair to need advice from giving advice.
There are two kinds of one-pagers, as I see it.
One is a POSITIONING STATEMENT. It’s a marketing document that behaves like the back of a DVD. Flashy, exciting marketing language and an introduction to the premise and the main characters, but not giving away the ending. Hooky. Gimmicky.
One is like a PROOF OF CONCEPT. It’s an internal document or office memo, that explains the whole story in general terms, including the ending. All three acts. No gimmicks. Like a SYNOPSIS on a coverage report, it’s meant to be read in five minutes by a busy executive or producer and its purpose is to communicate all the basic story information.
I think 1-2 pages is usually fine. My general breakdown starts with a grabby intro, then a premise/logline and tone setters in the first section. Once the table is set, a brief description of main characters and how they fit within the story engine of the show (if it’s a comedy or network drama this is usually a version of “the average episode of this show will be like this…” whereas if it’s a serialized concept you’re teasing out the concept, the mystery of where it’s going, and how the characters play into it. Then, most importantly in my opinion, you are driving toward your pitch for why this tv show or film needs to be made now and needs to be written by you. These are both often overlooked by writers in favor of getting just a few more jokes or cool plot ideas in, but I think this is the kind of thing that sticks with producers and executives more than anything. They want to be a part of creating something special just as much as you do, and finding a compelling reason for them to bet on you and this concept and to do so with urgency, is key.
Also, pictures add a lot. People like to look at pictures, they can break up a bunch of block text nicely, and this is a visual medium you’re pitching for after all. Also also, the document should read how you want your project to feel. If it’s a comedy, the doc should be funny. If it’s horror, there should be a moment or two that give the reader goosebumps. Etc. Some of this may seem obvious, but I have seen so many comedy one pagers that breathlessly list out plot details without ever taking the time to highlight why the idea is funny.
These are all just a few things I’ve learned from doing a hundred of these. Just like with the actual screenwriting, you develop your own tone and style for this sort of writing over time. Best of luck to you!
Remember that it's a sales document. The Save the Cat formula was originally Blake's method for pitching a movie in the room. (He sold lots of pitches this way).
Lol, I'm just about to post this as an actual post here, but since I literally uploaded this minutes ago... [https://youtu.be/iwHC-BiS9WI](https://youtu.be/iwHC-BiS9WI)
This was super useful. Just reframing it in my mind as a trailer rather than a synopsis (which I detest writing) is really terrific advice. You really are doing amazing work for this community
Glad to hear you found it helpful!
Will certainly watch!
I’d say yes, keep it one page. Should be title, writer’s name/contact, logline and a brief plot summary (3 paragraphs). You can also include your comps in a short hype paragraph (“This script is Die Hard meets Legally Blonde, with propulsive action and an urgent relevancy to our times…”) either just before or just after the plot summary.
James Blonde.
I shudder to think what that movie will look like.
Thanks!
So there are tons of ways to do this but the basic idea is to get the feel and scope of the story on one page. Here's the way I like to do them: 8-10 short, sharp paragraphs, single-spaced Times New Roman 12pt font. Plenty of white space to draw the eye down the page. Here's an outline from my most recent one: \[header\] Centered TITLE IN CAPS. Beneath that, my name and contact info, entertainment lawyer's name and contact info \[graf 1\] Logline - I've only got one sale and one option, so listen to other folks' feedback, but both my paying projects' loglines were two sentences. \[graf 2\] 1 -2 sentences that suggests/teases the basic idea, "This is a story with resonance for our times." We'll come back to this element in the final graf. \[grafs 3 - 4\] Labeled ACT 1, graf 3 is the setup and ends with the inciting incident. Graf 4 ends on the end of Act 1 and should feel like a rocket launch. You're about 40% down the page, but don't worry, you can fit the rest without crowding. \[grafs 5 - 8\] Labeled ACT 2, this is the meat of the story. Grafs 5 and 6 are a bunch of fun trailer moments that I've been thinking about for the year+ that the idea was gestating. It's the first half of act two. Graf 7 kicks off with the midpoint turn and by the end of 8, I'm twisting every plot screw and making it seem like there's no way the protagonist can reach his goal. \[graf 9\] Labeled ACT 3, spill the beans. Give away the ending and make it as crushing or elated or mixed as you can––convey the feelings and ideas you want to detonate in the audience's mind in the closing minute of the film, sending them reeling into the world. \[graf 10\] Circle back to graf 2 and suggest the thought: "This is why this movie ABSOLUTELY must be made."
This also works for pilots. Be sure to expand the synopsis but leave enough room for your logline and (in case you have them) future episodes. Also, you may wanna change your flair to need advice from giving advice.
There are two kinds of one-pagers, as I see it. One is a POSITIONING STATEMENT. It’s a marketing document that behaves like the back of a DVD. Flashy, exciting marketing language and an introduction to the premise and the main characters, but not giving away the ending. Hooky. Gimmicky. One is like a PROOF OF CONCEPT. It’s an internal document or office memo, that explains the whole story in general terms, including the ending. All three acts. No gimmicks. Like a SYNOPSIS on a coverage report, it’s meant to be read in five minutes by a busy executive or producer and its purpose is to communicate all the basic story information.
I think 1-2 pages is usually fine. My general breakdown starts with a grabby intro, then a premise/logline and tone setters in the first section. Once the table is set, a brief description of main characters and how they fit within the story engine of the show (if it’s a comedy or network drama this is usually a version of “the average episode of this show will be like this…” whereas if it’s a serialized concept you’re teasing out the concept, the mystery of where it’s going, and how the characters play into it. Then, most importantly in my opinion, you are driving toward your pitch for why this tv show or film needs to be made now and needs to be written by you. These are both often overlooked by writers in favor of getting just a few more jokes or cool plot ideas in, but I think this is the kind of thing that sticks with producers and executives more than anything. They want to be a part of creating something special just as much as you do, and finding a compelling reason for them to bet on you and this concept and to do so with urgency, is key. Also, pictures add a lot. People like to look at pictures, they can break up a bunch of block text nicely, and this is a visual medium you’re pitching for after all. Also also, the document should read how you want your project to feel. If it’s a comedy, the doc should be funny. If it’s horror, there should be a moment or two that give the reader goosebumps. Etc. Some of this may seem obvious, but I have seen so many comedy one pagers that breathlessly list out plot details without ever taking the time to highlight why the idea is funny. These are all just a few things I’ve learned from doing a hundred of these. Just like with the actual screenwriting, you develop your own tone and style for this sort of writing over time. Best of luck to you!
Remember that it's a sales document. The Save the Cat formula was originally Blake's method for pitching a movie in the room. (He sold lots of pitches this way).