A Whole New World

I've been knee-deep in development work for my projects this past month, responding to some thought-provoking notes on Steampunk Assassins from Ste Russell at Loves Me Not Films and attempting to whip The Greenwich Problem into shape before sending it out to producers. However, three opportunities came along this week that had me dusting off old projects and exploring their potential. The first was a call for feature screenplays based in and around Europe, which required writing a treatment for said screenplay. This seemed like a perfect fit for The Local, my Script Frenzy screenplay about an English doctor joining Welsh villagers in their fight against a construction company. A very "local" European story! Unfortunately, I loathe treatments and I haven't done a pass on The Local for about four months, so I needed to re-familiarise myself with the ins-and-outs of Act 2 to try and sell my story. Still ongoing, but my personal editor is on it. The second is news of a...
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Synopsis v treatment

I turn to my more experienced colleagues to answer a question for me: I am constructing my entry for the Prequel to Cannes Short Script Competition - recycling my unfulfilled LSWF competition entry - and the T&C asks for a one-page treatment and a 250-word synopsis. Easy, I thought. So I set to scribbling them down and then frowned. My treatment comes to 334 words and my synopsis comes to 144. Ah. The problem I'm having is that the screenplay is only ten pages long. How do I make the treatment long enough without resorting to writing out my screenplay minus the dialogue? Am I missing the real point of the synopsis (quite likely)? Advice? Mockery? I'll take it all!...
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