EXTRA INFORMATION TO ASSIST YOUR BREAKS APPLICATION

How should my script be formatted? (download a sample script)

• What is a synopsis?
• One Line Snopsis
• One Paragraph Synopsis
• One Page Synopsis
• What is an Outline?
• What is a character breakdown?
• What is a Creative Concept?
• What is a Director’s Statement?
• What is a Producer’s Statement?
• What is a broadcast credit?
• What is a Bio[ography] and CV?
• What is a Treatment?
• What is a Marketing Plan?
• What is a Budget?
• What is a recognised film festival?

1. What is a synopsis?

The synopsis of a project regardless of genre or length can be a single line [Logline ,see below], a paragraph or up to a page in length. The purpose of a synopsis is to detail the basic plot and motivations of the characters and their situations in an accurate and concise manner, thereby engaging the reader. A synopsis should incorporate the following:

• Whose story it is; who are the major characters and how do they interact?
• The setting and period of the story
• The motivating incident that initiates the story
• How the story unfolds, and its major developments
• A sense of the stories dynamics including tensions and conflict
• The climax and resolution.

Main elements of a synopsis are:

• The ‘Hook’
• The main conflict [should be one, but no more than two]
• Supporting characters
• The main resolution
• Summary and ending

As a synopsis is often the first contact a project assessor, producer or investor will have with your project, it should be written in a way that is as dynamic and engaging as possible.
Ask yourself, “does my synopsis…

• … economically pitch the project?”
• … clearly describe my idea?”
• … give an accurate description and ‘feel’ of the story?”

Types:

One Line Synopsis

 Applicants/filmmakers are often asked to supply a one sentence version of their film story. This one sentence should give the most concentrated version possible of the story, or at least its key event. For example, here is a one sentence plot premise for Somersault:
A teenage girl runs away from home, hoping to find herself through love, but the people she meets
are as lost as she is...
This sentence is one way to describe what happens in Somersault. In this case, it gives us the starting event, implies further events and states the protagonist’s predicament.

One Paragraph Synopsis

The one paragraph synopsis is useful in finding the essence of the story because it must state very briefly and simply WHO, WHAT and HOW.
Within the space of two to four sentences, the one paragraph synopsis should set out whose story it is [the protagonist], what his or her problem is, what they do about it and the outcome.

For example, here is a one paragraph synopsis of 'The Boys':
Brett Sprague is released from gaol and returns home to a family he feels has disintegrated in his absence. His attempts to dominate his brothers, his brothers’ girlfriends, his own girlfriend and his mother by violence and the assertion of masculine solidarity result in the alienation and escape of the women. Finally, Brett leads his brothers in an act of revenge on one anonymous female, the scapegoat for their failures as men.

What is implied in this synopsis of 'The Boys' is not just ‘what happens’, but the story’s thematic concerns as well.

One Page Synopsis

The generally accepted idea of a synopsis is a one – or at most two – page document. [‘One page’ really does mean one page. No-one is fooled by attempts to squeeze more onto a page by using a compressed font in 10 point with no paragraph breaks.]
Like the one paragraph synopsis, the one page synopsis deals in WHO, WHAT and HOW, but also establishes the other major characters and their lines of conflict, what is at stake for these characters, the setting in time and space, and the major turning points of the story. The last is crucial; the key element of any synopsis is a clear indication of the story’s structure. That is, how the story begins, develops and ends. The synopsis must reveal the end if only to convince readers that there is one and that it is a logical, dramatic outcome of all that comes before. Although the one page synopsis is a selling document, it is not a teaser. It should not end in three dots... It should tell the complete story, not simply posit a premise that leaves readers wondering ‘what happens next’. Above all, what needs to be stimulated in the reader is not mere curiosity about ‘how the story turns out’, but an excitement about the possibility of this story as a movie. To summarise, the one page synopsis must include: the event, without which the story would not begin; the decisions and actions the characters make in pursuit of their goals; the obstacles and barriers they encounter and what they do about them; whether they win or lose; and where we leave them in the end.

Despite its very compressed form, the synopsis does give the reader a sense of the characters because it includes their key choices and actions. And in a drama, choices and actions define character.

Finally, screen drama [and we include documentary here] demands a story which develops in a cause-and- effect way. The reader of the one page synopsis will want to see that the story develops and builds with rising tension, ever more loaded conflict and something of value riding on the outcome.

2. What is an Outline?

An outline for a short film can be up to several pages in length. It is primarily written like a short story, is an extension of the synopsis and should include all the elements listed above. It includes all action in the story without dialogue and should be written in an engaging way to draw in the reader. It can sometimes incorporate ‘pitch’ elements, which would include information that would give the reader a better understanding of the dynamic elements of the story, subject, characters or style intended. An outline describes the plot structure to your story and avoids unnecessary embellishments.

3. What is a character breakdown?

A character breakdown is a documented matrix of the elements that describe the essential particulars and motivations of the principal and supporting characters within a script. It usually contains the following information:

• Character name [proper name, nickname, title etc.]
• Background [sex, age, place of birth, occupation, cultural identity, social position,  habits, relationship to the other characters etc]
• Psychology [flaws, fears, self perception and internal aspirations etc]
• Emotional base [sympathetic, empathetic, antipathetic, etc.]
• Role [protagonist, antagonist, friend, love interest, catalyst, comic relief etc.]
• Character objective [prime motivation, active choices, main actions etc.]

4. What is a Creative Concept?

A creative concept is a succinct and structured description of the range of visual and narrative devices used to create mood, atmosphere and an intended meaning within a film or other screen media project. It allows the reader to make a critical assessment of the creative narrative elements and the aesthetics of the project, and to identify the techniques that are employed to carry the story, and how they might affect the audience.

5. What is a Director’s Statement?

A director’s statement should describe in detail the directorial approach to the project and demonstrate the director’s understanding of the themes of the script. It should also demonstrate an understanding of whose journey forms the central story [if it is a single-protagonist story] or in the case of an ensemble story, what theme or element unifies the different characters’ journeys.

Ideally, the notes should outline the relationship between the meaning/idea of the work and the form in which the meaning/idea is to be expressed. A director’s statement may move beyond the scope of the script development notes, but both sets of notes should be founded on a unified creative vision. The director’s statement should also address issues such as tone, performance style, visual style [incorporating the envisioned approach to design, camera and editing] and the style and treatment of sound and score.

6. What is a Producer’s Statement?

A Producer’s Statement addresses: The films entire budget, methodologies and timeframes, locations, actors, costumes, SFX, safety, crew recruitment. How will the film be marketed – what are the plans once the film is finished? Which film festivals will the film be entered into? [elaborate in Marketing Plan]. Think ‘what needs to be organised and thought of in order to make this film the way I want?”

7. What is a Bio[ography] and CV?

When writing a bio, remember the difference between bio and biography.  A Bio is short and a Biography long.  We require a short bio [between 25 and 50 words].

You should write in the third person: what this means is that you write your professional bio as though someone else is talking about you.  So instead of writing "I am" and "I graduated", you would write "Jane Smith is" and "She graduated".

Use your full name [first and last] the first time. After that, just use your first name, or your last name.

Briefly highlight your main achievements. The purpose of a professional bio is to demonstrate your professional credibility. Unlike a CV or Resume [which should include your complete career history], a professional bio only needs to cover the "high points" of your experiences and achievements.

Don't be bland - let your personality show. Since your professional bio is an advertisement for you, let it demonstrate who you are through your writing style.

8. What is a Treatment?

A Treatment describes the action that takes place within the story, following the plot structure and looking in detail at the way the narrative unfolds. Normally it does not contain dialogue. It is generally longer and more detailed than an outline [or one-page synopsis]. It may include details of directorial style that an outline omits.

A Treatment reads like a short story, except it is told in the present tense and describing events as they happen. There are two types: the original draft treatment, created during the writing process, and the presentation treatment, created as presentation material which contains a detailed written summary, or presentation, of a film's story, with action and characters described in prose form.

9. What is a Marketing Plan?

Your marketing plan should address the following points.

• Target audience – who are they? [age, gender, life style, background etc.] If the film has more than one target audience, break out your description into primary and secondary audiences.
• The story and selling points – the essence of what makes the story interesting and marketable in the current marketplace. [i.e. artistically and factually, including genre, cast, director, locations, etc.]
• The plan – a brief explanation of how the film will be positioned for release.  
• Focus on marketable elements from the story that can be highlighted for the
• film’s campaign.
• Release strategy – a description of how the film’s release will be executed in all media [festivals, theatrical, home video, television, non-theatrical, etc.]
• Marketing materials – a complete list of all materials and services you will need for your film’s campaign.
• Publicity activities – press opportunities for the film and its key talent.
• Promotional activities – all the opportunities you wish to explore for the film’s release, from simple promo partner opportunities to promotional special events.
• Budgets- a detailed breakdown of the total print and advertising budget [P&A] for your film’s theatrical release. Include budgets for home video, broadcast and other ancillary distribution activities if appropriate
• Home Video and Broadcast Plan- marketing plan should consider the full life of the film, and identify how to implement marketing initiatives throughout the entire cycle.

10. What is a budget?

Film budgeting refers to managing the budget for a film during its production phase. A budget is typically divided into four sections: above-the-line [creative talent], below-the-line [direct production costs], post-production [editing, visual effects, etc], and other [insurance, completion bond, public liability etc].

Please see our website for a template budget which should be used when applying for Breakout and Indigenous Breakthrough programs.

If you are successful for any of the Breaks programs a standard A-Z Budget template will be provided.

11. What is a broadcast credit?

A program that has screened on a free-to-air or pay television channel in Australia or internationally. Community television is not considered an eligible broadcast credit.

12. What is a recognised film festival?

Recognised film festivals are considered to be those that attract both industry and international press. Such festivals are not simply about screenings for the general public; they are characterised by the nature of industry and press attention and the sales/distribution, professional development and promotional opportunities that are extended to the filmmakers who are invited to screen their films. Australian examples of such events are the Message Sticks Indigenous Film Festival and Melbourne, Sydney, Adelaide, Brisbane and Perth Film Festivals, as well as festivals such as St Kilda, Reel Screen and Flickerfest. Internationally the list is more comprehensive. Links to the main recognised film festivals can be found at www.screenaustralia.gov.au.