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【成语名字】提纲挈领
【汉语拼音】t& gāng qi& lǐng
【成语解释】
&提纲&，提起鱼网的总绳。语本《韩非子．外储说右下》。&挈领&，提起衣服的领子。语本《荀子．劝学》。&提纲挈领&比喻抓住事理的重点。
【成语典故】
1、&提纲&：《韩非子．外储说右下》
四摇木者，一一摄其叶，则劳而不遍；左右拊其本，而叶遍摇矣。临渊而摇木，鸟惊而高，鱼恐而下。善张网者，引其纲，不一一摄万目而后得。一一摄万目而后得，则是劳而难，引其纲而鱼已囊矣。故吏者，民之本纲者也，故圣人治吏不治民。
【成语注解】
1、纲：鱼网上的总绳。
2、摄万目：牵引众多网子的孔眼。摄，牵引。
3、囊：作动词用，指鱼入网内。
4、&挈领&：《荀子．劝学》
学之经莫速乎好其人，隆礼次之。上不能好其人，下不能隆礼，安特将学杂识志，顺《诗》、《书》而已耳，则末世穷年，不免为陋儒而已。将原先王，本仁义，则礼正其经纬蹊径也。若挈裘领，诎五指而顿之，顺者不可胜数也。不道礼宪，以《诗》、《书》为之，譬之犹以指测河也，以戈舂黍也，以锥*壶也，不可以得之矣。故隆礼，虽未明，法士也；不隆礼，虽察辩，散儒也。
【成语注解】
1、原：推究根源。
2、经纬蹊径：纵横的径路。
3、挈领：提起皮衣的领子。挈，提起。
4、诎：弯曲。同&屈&。
【成语出处】
1、宋．朱熹〈谢上蔡语录后序〉：&胡氏上篇五十五章，记文定公问答，皆他书所无有，而提纲挈领，指示学者用力处，亦卓然非他书所及。&
2、清．李渔《奈何天．第三出》：&要晓得妇德虽多，提纲挈领，只在一个顺字。&
3、《野叟曝言．第二一回》：&若夫提纲挈领，则断推仲景一书。&
4、《官场现形记．第六○回》：&然而中国四万万多人，一时那能够统通救得。因此便想到一个提纲挈领的法子。&
【成语用法】
语义说明&& &比喻抓住事理的重点。
使用类别&& &用在&掌握要点&的表述上。
【提纲挈领造句】&& &
1、读书要懂得掌握重点，提纲挈领，才能读得好。
2、会议一开始，他就先把会议资料提纲挈领地作了报告。
3、登山前，领队又提纲挈领地将注意事项再提醒大家一次。
4、他将课本的内容整理成一份提纲挈领的资料，方便日后复习。
5、教学时，若能将内容提纲挈领地说明，学生较容易掌握重点。
6、想要在短时间内把一本厚书看完，提纲挈领的阅读方式是必须的。
【近义词】纲举目张
【反义词】不得要领
形音辨误&& &挈，提、领。不可写作&契&。
【参考词语】：举纲持领
【汉语拼音】：jǔ gāng ch& lǐng
【成语解释】：犹&提纲挈领&。见&提纲挈领&条。
1、汉．王充《论衡．程材》：&今世之将，材高知深，通达众凡，则举纲持领，事无不定。&　
【参考词语】：握纲提领
【汉语拼音】：w& gāng t& lǐng
【成语解释】：犹&提纲挈领&。见&提纲挈领&条。
1、晋．潘尼〈答傅咸〉诗：&悠悠群吏，非子不整。嗷嗷众议，非子不靖。忽荷略纽，握纲提领。矫矫贞臣，惟国之屏。&　
【参考词语】：提纲振领
【汉语拼音】：t& gāng zh&n lǐng
【成语解释】：即&提纲挈领&。见&提纲挈领&条。
1、宋．朱熹〈答张钦夫书〉：&熹向来之说，固未及此，而来谕曲折，虽多所发明，然于提纲振领处，似亦有未尽。&　
【参考词语】：挈领提纲
【汉语拼音】：qi& lǐng t& gāng
【成语解释】：即&提纲挈领&。见&提纲挈领&条。
1、宋．朱熹〈吕氏家塾读诗记后序〉：&今观《吕氏家塾》之书，兼总众说，巨细不遗，挈领提纲，首尾该贯。&　
【参考词语】：纲提领挈
【汉语拼音】：gāng t& lǐng q&
【成语解释】：即&提纲挈领&。见&提纲挈领&条。
1、宋．朱熹〈通鉴室记〉：&大者纲提领挈，细者缕析毫分，心目了然。&
2、明．宋濂〈杜诗举隅序〉：&一览之顷，纲提领挈，不待注释而其大旨焕然昭明矣。&
【提纲挈领的成语故事】
&提纲挈领&系由&提纲&及&挈领&二语组合而成。&提纲&出自《韩非子．外储说右 下》。文中提到：会张网的人，只须牵动系网的大绳，就能把鱼网张好。如果要一个一个去牵引网目，才能把网张开，那是非常辛苦而且艰难的工作。只要能提住鱼 网的总绳，使网孔张开，鱼儿自然就入网了。所以官吏跟人民的关系，就像树叶的本，鱼网的纲，所以圣人只要治理好官吏就好，不用直接治理人民。&挈领&则是 出自《荀子．劝学》。荀子在此篇提及，要追溯先王的本源，穷究仁义的根本，崇尚&礼&，是入道的快捷方式。就好比用手提起皮衣的领子，屈着五指一抖，整件 皮衣的毛就都顺顺溜溜了。后来这两个【成语典故】被合用成&提纲挈领&，用来比喻抓住事理的重点。
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最受欢迎的成语电影大纲怎么写？
电影大纲怎么写？
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当了20个月的学徒，结果就写了整整20个月的大纲。佛家说，开悟之前，砍柴挑水，开悟之后，挑水砍柴。在编剧的生活里，写故事大纲就好比砍柴挑水，是绕不过去的基本功。大师傅曾不止一次地强调过故事大纲的重要性。首先，大纲是一个故事给人的第一印象，它透露了题材、情节、主题等关键信息，故事是好是坏，是旧是新，此时已见分晓。跟谈恋爱一样，第一印象在极大程度上决定了项目生死。其次，大纲也是辗转于编剧、导演、投资人、演员等人之手的最常见媒介。每个人的时间都是珍贵的，五千字的大纲二十分钟可以看完，五万字的剧本少说也得两小时，相较之下，前者甚至更容易让读者有一个全貌的认识。再者，修改大纲是成本最低、效果却最明显的一个阶段。想要改结局，在大纲里区区几百字了事，若在拍摄阶段，可能需要重新布景、重新拍摄、重新剪辑，耗资巨大。下面就小结一下大纲写作的技巧和心得。大部分来自各位师傅的亲传，小部分来自个人体会。1.
计算节奏何谓节奏？概括来说，就是精心布置“起、承、转、合”的时间点（情节点）。我原以为这是件很屌的事，后来发现，这是新人最容易上手并做好的事。方法很简单——找一部你想要模仿的经典电影进行拉片，把每一个情节点用一句话记下来。譬如，《杀手不太冷》的开场情节点是“里昂出场杀人（身份介绍）；里昂初遇小女孩；小女孩全家遭灭口，里昂救下小女孩……”你会发现，一部电影大致就是十几二十句话可以概括。而你，则可以先用十句话列出你故事的关键情节点，也许总计不到三百字，但你会对故事有一个全局的想象。在此基础上，可尝试明确每一段情节点所需要达到的戏剧需求，譬如“男女主角要在这里产生误会、在那里重归于好……”2.
扬长避短大纲不是剧本，字数有限，总要有所取舍。标准很简单——在不影响故事流畅性的前提下，扬长避短。何谓长？就是那些其他电影里没见过的、你已经想好的、十分有看点的内容。何谓短？其他电影里常见的、你自己都没想清楚的内容。譬如，你写的是催眠题材，那么对于催眠细节的新奇展示，就是大纲要突出的亮点。而在梦境里的打斗场面，若非视觉革命（《盗梦空间》），只是惯常拳脚，你就可以略写成“经过一番激烈搏斗”。如此一来，大纲的详略程度和电影详略可能不完全匹配。譬如某一场戏，可能拍出来只有5分钟，却占了大纲十分之一字数，实属正常。3.
突出主线剧本的使命是指导拍摄，而大纲的使命则是吸引导演、投资方等一票读者。所以，大纲不求“全”，而求“精彩”。完整的电影剧本，很可能有主线副线之分，且同时发生。但倘若双线互动性不高，拿掉副线对于主线故事的影响不大，则可考虑删去，避免在有限的字数里，干扰主线叙事。对配角的处理，同样遵循上述原则。4.
画面化电影是通过声画来讲述故事的，所以优秀的剧本几乎全部是台词和画面，这和夹叙夹议甚至还有心理描写的小说有巨大区别。新手在写大纲时，最常犯的错误就是，不能用画面展示内容。当故事讲到一半时，硬生生地开始解释——详细介绍某种概念、技术原理；某个机构的职能；某个角色的前史/性格/信仰（他谈过三次恋爱/一向是沉默寡言/信仰佛祖的人）某个幕后真相（以“原来”“其实”等字眼为标志）……这种写法，除了画面难以表现之外，它还打断了阅读节奏，很容易让观众出戏。究其原因，是你所插叙的内容，都不是在“当下发生”，逼迫观众去切换对于时空的想象，甚至切换左右脑的感性/理性思维。经验表明，如果你需要大段阐释，很有可能你没有把这个问题想清楚。一般来说，复杂的问题也可以用一句简单的话表达个大概意思。如果你想不到这句言简意赅的话，那就……再好好想想。5.
发生两次已有之事，势必再有，这是客观规律。因此，想要让观众相信人物的举动，减少刻意的“编造感”，不妨提前铺垫细——这是我个人非常喜欢的手法。举个最老旧的例子，某一个反复出现的铁质酒壶（打火机或者ipod），在前半段以信物的身份担当了推进角色情感的功能，到最后则有可能拯救了主角的性命——在胸口的衣兜里默默挡下一颗子弹。适当的铺垫，会让观众有一种前后呼应的快感。也让故事有一种完整感。6.
惜字如金大纲字数有限，所以容不得半点浪费。但我们在创作过程中，却很容易展开来写，让场景的百般细节清晰地呈现在眼前，有时候甚至会细化到譬如A和B谁先上的计程车，主角当时在餐厅吃的是龙虾还是扇贝……在发散思考的过程中，这些细节会有助于我们去具象化每一个画面，激发更多的灵感，但当我们回头检视时，会发现很多细节对于主线故事是没有帮助的，甚至因为过于详细冗杂，干扰阅读。大师傅说，细节是我们“过河”的工具，当我们跨过了河，就应该狠心“拆桥”。另外，角色的名字尽可能简单好记，若是三个字的名字——譬如陆焉识——则不妨用“陆”字代替，以减轻读者阅读负担。若角色姓名出现一百次，你就省下了200字，而大纲有时候甚至只有2000字。7.
逻辑关系在剧本和电影中，一些不相关的场景可以通过剪辑生生地拼在一起，平行叙事，强制观众去接受，但在大纲阶段，读者很少有这种耐心，对于“一气呵成”的要求远甚于剧本。这使得，要加强每一场戏、每一个段落之间的关联性。最好的关联性，就是紧扣时间先后顺序，以及因果关系。次之，就是空间和声、光效应上的呼应。譬如从喧闹的演唱会现场切至夜店现场。在段落与段落之间，要加强文字上的呼应，譬如“自那之后”。以上写的都是纯粹的写作技巧，并不完全是故事创作技巧。关于“主题”“人物”等永恒问题的讨论，以后再撰文细谈。
赞同唐龙和罗登老师的答案。但是单从剧本创作的角度来说，大纲是整部电影的骨骼，牵一发而动全身，要清晰明了地展示整部电影的发展走向，以为下一步分场大纲做准备。现在合作的导演对大纲的要求是，要求清晰地展示事件。这个要求更凸显了大纲的骨骼要求。以下是自己翻写《虫虫特工队》的大纲，因为仅仅作为自己学习揣摩之用，可能稍显粗糙，但是可能对大家理解事件性大纲会起到一定帮助。菲力在蚂蚁王国并不是一个受人欢迎的小蚂蚁，因为他稀奇古怪的发明给大家的生活平添了许多烦恼。蚂蚁帝国每年要向蚱蜢交很多食物作为贡品，今年，蚂蚱收贡品的时候又要到了，菲力却不小心将所有食物都撒到了水里。蚱蜢勃然大怒，头目霸王威胁蚁后要在雨季来临之间收集到之前两倍的食物。（第一个事件）蚂蚁帝国因为这件事陷入了恐慌中，菲力自告奋勇，提出应该从城市里请别的昆虫军队来打败蚱蜢。虽然大家都觉得菲力的想法是异想天开，但是想到正好可以以此作为借口将菲力支开，避免他添乱，于是纷纷同意。（第二个事件）城里有一个失败的马戏团，这个马戏团的表演从未得到过任何掌声，并且演员们个个性格怪异，经常和观众发生争执。为了留住客人，马戏团团长跳蚤开发出火烧活虫的节目，但是没想到表演失败，跳蚤被烧成了焦炭，一怒之下，他开除了所有的演员。（第三个事件）失去工作的演员们无处可去，在酒吧商量以后的去路，结果遇到了表演时结怨的观众带人过来报复，演员们和他们大战一场，但是明显落入下风，匆匆逃走。这一幕却正好被前来寻找军队的菲力看到，不知道前因后果的他以为演员们正是他要找的人，忙邀请他们和他一起去蚂蚁王国。演员们一想正好可以借此躲避报复，将错就错跟菲力回到了蚂蚁王国。（第四个事件）菲力带演员们回到蚂蚁王国，公主和蚁后一看演员们的奇形怪状勃然大怒，将菲力和他们齐齐赶走。正巧遇到一只鸟叼走了小公主，在菲力的指挥下，演员们齐心协力救下了小公主，使得整个蚂蚁帝国对这群人刮目相看，开始真正相信这是一群了不起的士兵，可以带他们打败蚱蜢。（第五个事件）
演员们成为了蚂蚁帝国的英雄，大家都把希望寄托在他们身上，反而使得他们打起了退堂鼓，他们自知自己无法打败蚱蜢，于是匆匆逃跑。菲力惊慌失措想挽留他们，得知了真相。（第六个事件）菲力想到一个办法，大家一起齐心协力做一只假的鸟，将蚱蜢吓跑。因为相信演员们是作战有素的战士，蚂蚁们信心倍增，齐心合力造成了鸟，但没想到，火烧活虫项目一炮走红，跳蚤团长四处寻找自己的演员。演员们的小丑身份败露，公主和蚁后万分生气，大家再也不相信菲力的计划，并且将他们和演员们一起赶走。（第七个事件）蚂蚁们又开始辛辛苦苦的收集食物，最后一片树叶已经掉了下来，食物还远远没有达到蚱蜢们要求的数量，霸王勃然大怒，勒令大家速速收集，并且扣押了蚁后作为人质。但是小公主却在偶然间听到霸王的阴谋，当食物收集完成后，霸王就会杀掉蚁后以儆效尤。（第八个事件）小公主赶忙去找菲力寻求帮助，但是菲力已经丧失了信心，告诉她自己总是给大家添乱，但是演员们却告诉菲力，他是一个了不起的人，他使得他们的人生第一次获得了掌声。菲力重拾信心，准备回去营救蚁后。（第九个事件）菲力带着众多小蚂蚁操纵假鸟终于吓退了蚱蜢们，却没想到跳蚤团长误以为假鸟是侵略者，他重新拿出火烧活虫的装备，将假鸟点着了。小蚂蚁们慌乱地从鸟中脱身，被霸王识破，带着蚱蜢们卷土重来，抓住了菲力。为了惩罚菲力对他的反抗，霸王准备杀掉菲力。霸王的作为引起了蚂蚁们的愤怒，他们第一次意识到自己不想任人宰割，他们团结起来，彻底打败了蚱蜢。（第十个事件）蚂蚁们终于认识到了自己的力量，过上了自由和平的生活。跳蚤团长重新扯起了大旗，带着他的演员们奔赴远方。
这学期接触了一个叫Beat Sheet的东西，是由布雷克·斯奈德(Blake Snyder)提出的一种分析电影的方法。一部电影不论长度、题材，都可以按其结构列出一份Beat Sheet。这种大纲里主要由以下几个固定部分构成：1.开场画面2.铺垫3.确立主题4.催化剂（或者叫做“激励事件”）5.辩论和发展6.B故事7.进入第二幕8.继续发展（原文是"Fun & Games"）9.中间点10.危险迫近11.一切尽失/前功将弃12.灵魂黑夜（原文是"Dark Night of the Soul",指高潮之前英雄/主人公经历的最后磨难）13.进入第三幕14.结局15.结束画面这个网站上能找到很多Beat Sheet，希望对你有帮助。
电影大纲属于策划阶段的工作文案，所以提纲契领要把握两点：1，呈现要素：商业元素+戏剧结构+人物关系+大致情节。2，好读：让投资人想看到的东西一目了然。接下来说文案本身必须包含的三大元素：主题、人物关系、故事情节。1，主题：最易被忽视，但最终决定故事质量的重中之重。它可以简化为一个问题：你想告诉观众什么道理？2，人物关系：注意哦，我说的是“关系“不是”人物设定“。
很多案子做设定是，把血型星座癖好口头禅都做出来了，我觉得挺好，但是，他/她依然是个陌生人。人的状态，要在群体里体现。一个人的价值观，要在人群中才能分出高低。人离不开人，人的故事，必须在人群中讲。
这话有点绕，简单说：陌生人在地铁里吵架就是街头偶发摩擦，但儿媳妇跟老公公在地铁里吵架，你就会想知道”这到底发生了什么？“ 这段关系可参考电影《水性杨花》，也可参考电影《菊豆》，还可以参考戏曲连续剧《倔公公犟媳妇》。
这种关系本身有张力，刁钻且敏感，然而放在不同的背景中，会产生不同的火花与故事，会有看点；也因为同样的原因，做故事时要格外仔细，不能把敏感话题变成低俗话题。人性都是一样的，但大众艺术毕竟是审美，而非审丑。我因为举了一个敏感的例子，所以不得不多补充两句。
有趣的人物关系，会在整个故事落实到具体场景时，变得活灵活现。反之，木有火花，你就得硬擦。
同时，人物关系直接决定着市场取向——明星。如何搭班子？谁和谁在一起有戏？这个有戏，就是人物关系。做出有戏的人物来，也更易吸引明星加盟。
个人认为，人物关系，是整个策划环节中难度最大的部分。3，情节架构。
故事情节分为：故事+情节。
故事是你向别人推荐电影时，人家会问的那句：电影讲的啥？一句话讲不清的故事，不成为故事，而一句话故事必须包含：谁在哪里和谁遇到了什么事，他们经历了什么最后得到什么结果？
简单理解：就是必须包含记叙文六要素。
情节是在人物在故事中所经历详细波折。关键词是波折哦。
三幕式结构：（引子），铺垫，发展，高潮。
四幕式结构：开端，发展，危机，高潮。
五幕式我不熟啊，麦基《故事》里是这种分法，但我没写过就就不说啦。
三幕式比较偏向戏剧，四幕式属于典型好莱坞商业片。
建议从三幕式学起，原因是——简单，不容易被搞乱。参考书《电影剧本写作基础》悉德·菲尔德
流传甚广的故事板，便是乍一看是三幕式的四幕式。参考书是《救猫咪1,2》写作特点：1，电影大纲，我偏向认为它的体裁是——具备故事性的公文写作。2，因此，有趣是必须的，你得让非编剧出身的外行光看故事就有兴趣，所以得表现地有画面感。3，也因为，投资人虽然是专业外行，却是商业专家。你必须得用故事给他们作为观众的信心，同时，要让他看得到，钱花哪儿，哪儿能赚来，以及凭什么？4，到底凭什么呢？凭传媒心理学，凭大众传播学，凭大数据——这一切综合指标，最终落实在文案上，便是针对人群需求的特别设定。能做到这步，就不仅是编剧，还是策划啦。5.所以综上，电影大纲需要提纲契领地展示看点。
关键词：提纲挈领，看点。
细节要展现，但不能喧宾夺主，而如何系统地发掘看点，则是这个行业真正的秘密啦。
我试写的电影《远山的呼唤》剧本大纲《远山的呼唤》是由日本导演山田洋次执导，倍赏千惠子、高仓健、吉冈秀隆主演的，日在日本上映，获得第4届日本电影学院奖，这是一部讴歌小人物平实友情和爱心的乡村式电影。--------------------------------------------------------------------------------------------------------------------------------------------位于北海道农户的美丽少妇民子，独自靠喂养奶牛为生，与五岁的儿子武志相依为命。在一个寒冬雨夜，耕作路过民子家，请求借宿一晚，民子虽然心有抱怨和顾虑，但依然同意耕作留宿且奉上晚餐。当夜，耕作帮助民子为即将出生的小牛犊接生。次日晨，耕作感谢并告别民子，上学路上的武志追上耕作把民子交代的1000元给耕作，耕作与武志一段顺路的聊天了解到，武志的爸爸已经去世。无处可去的耕作决定回到民子家，请求为民子家打工。民子得知耕作的来意，因付不起太高工资而为难，耕作却只要求管饭，不在乎工资多少。民子考虑到平日繁重的农活独自无法负担的压力下，暂且同意了耕作的需求。耕作开始了在民子家的打工生活，有过牧场工作经历的耕作对民子家的农活轻车熟路，耕作平日勤劳善良、少言寡语，即便住在民子家仓库里也任劳任怨。耕作的身世却始终是个谜，邻居也提醒民子保持戒心。一段时间的相处，民子唯独问到耕作其原因背景时，耕作拒之不谈。氓田是民子的追求者，通过送礼讨其欢心，民子对氓田动手动脚的骚扰厌恶至极并反抗，把氓田赶出家门，耕作看到这一切误以为氓田是民子朋友，民子抱怨耕作不来帮忙解围。当氓田再次对民子骚扰时，耕作挺身而出，把氓田赶出家门且泼了他一桶脏水。氓田带领俩兄弟来报复耕作时，武志偷偷看到耕作敏捷的身手，制服了氓田三兄弟，武志对耕作崇拜有加。氓田更是对耕作顶礼膜拜，当夜在耕作居住的仓库内举办了丰盛酒宴来谢罪。民子干活时倒在牛棚不能动弹，耕作帮忙请邻居开车送民子去医院，民子因过度劳累需住院治疗两周。其间氓田也来分担民子家的农活，利用自己现代化器具的优势，同两兄弟帮耕作完成农活。武志因妈妈住院期间不在家担心又害怕，晚上去仓库同耕作一起睡，耕作给武志讲述自己年幼的经历鼓励武志更加坚强，两人的感情更加增进了。民子出院到家看到武志缠着耕作要学骑马，颇感欣慰。耕作去车站见哥哥骏一郎，骏一郎带了咖啡豆给爱喝咖啡的耕作，耕作得知骏一郎不能当老师因为自己是凶杀逃犯所致，既惭愧又无奈。在耕作无望前途中，只能告诉骏一郎自己的生活计划只能在这里劳作。一场赛马比赛中，耕作获得了冠军，却引起了在场的便衣刑警对耕作杀人逃犯身份的怀疑，耕作化险为夷回到民子家后，向民子坦白了自己杀人逃犯的身份，并决定自首，与民子告别。耕作被判有期徒刑四年。耕作在火车被押送途中，氓田与民子登上火车，在耕作旁扮演一出戏，暗示耕作：民子放弃了农村的养牛生活，带着儿子武志等待耕作刑满释放再相聚生活。
How To Write A TreatmentBy Writing a treatment is a skill that can help any screenwriter succeed, at any point in the creative process. There are at least three parts of getting a screenplay sold or financed. Learning to write a treatment can jumpstart a writer's career because it allows a screenwriter to communicate his or her screenplay idea in a brief but compelling way. It also can be a powerful diagnostic and creative tool. I am often asked if a writer has to actually write a screenplay, or can they just sell ideas? You can't copyright an idea, only the execution. If you have a great idea, the only way to own it is to write it. Writing a treatment is a fast way to test out an idea before the screenwriter commits to writing a script. If it isn't terrific, move on. Part of of succeeding as a screenwriter is to write at least one great screenplay. There is no substitute for craft. Screenplays are hard work and take time to perfect. If a writer has completed a screenplay, writing a treatment can help the writer determine whether or not their screenplay is viable, because the treatment creates distance. This allows the screenwriter to get an overview of their work and look at it objectively. If the basic story is not something an audience will want to see, no amount of rewriting can fix it. This is a problem I encounter over and over in my work as a writing coach. Screenwriters often forget that they are writing for an audience. Writing a treatment before you write your next screenplay can help you work out problems and determine whether your story idea is a diamond in the rough, or just a lump of coal. The goal is to combine stories told from the heart with a deep understanding of what other people want to see. Craft and good ideas don't necessarily go together. I have worked on several scripts with great ideas and poor execution and the reverse. The successful screenwriter must be able to master both aspects. One tip: Always remember that a screenplay, unlike a novel, is not a complete form in itself but a step along the path of making a film, so the goal of any screenwriter is to see the film made of his or her screenplay. It's easy to forget the goal when you are wrestling with your script. Ideally, every serious screenwriter should have two really well written, well-structured screenplays as writing samples. Then it makes sense to devote time to learning how to write treatments because they force the writer to focus on structure and character development. Once the writer gains a comfort level with this type of rigorous story development, years of struggling can be saved, If the writer can attain writing excellence in his or her full length scripts, and can write treatments with his or her intended audience in mind, success must be inevitable The key is this: If the scriptwriter wants to see the movie of the treatment he or she writes, then so will other people. Writing a treatment helps a screenwriter assess his or her work wherever they are in their process. I cannot recommend this process enough.What Is a Treatment?There is controversy about the length a treatment can be. Some say up to 60 pages, but the point of the treatment is to communicate your story as quickly as possible, so brevity without sacrificing juice is the key here. There seem to be three opinions about what a treatment is. One opinion is that it is a one page written pitch. The second, which I agree with, is that it is a two to five page document that tells the whole story focusing on the highlights. The third opinion is that a treatment is a lengthy document that is a scene by scene breakdown of a script. I consider this an outline, and a waste of time as a marketing document, though it can be an important step in the creation process In my experience, the two to five page version works best, and an example is included in this article.How To Write a TreatmentThis two to five page document should read like a short story and be written in the present tense. It should present the entire story including the ending, and use some key scenes and dialogue from the screenplay it is based on.What Should Be in the Treatment?A Working titleThe writer's name and contact informationWGA Registration numberA short loglineIntroduction to key charactersWho, what, when, why and where.Act 1 in one to three paragraphs. Set the scene, dramatize the main conflicts.Act 2 in two to six paragraphs. Should dramatize how the conflicts introduced in Act 1 lead to a crisis.Act 3 in one to three paragraphs. Dramatize the final conflict and resolution.The Three Act StructureAny discussion of treatment writing should at least touch on basic screenplay structure. Although everyone reading this article is probably familiar with this information, revisiting the basics can be helpful. In his seminal book of fragments, The Poetics, Aristotle suggested that all stories should have a beginning, middle, and an end. The writing method I have developed uses the expressions Setup, Conflict and Resolution as more evocative terms for describing the movements of a screenplay. Breaking the movement of a story into three parts, gives us a 3- part or act structure. The word "act" means "the action of carrying something out." Many screenplays are organized into a 3-act structure. The tradition of writing in this form comes from the theater and was followed by filmmakers. Think of it as a foundation for building a house that others can easily identify, even if the details are new and original. Act 1, called the Set-up, The situation and characters and conflict are introduced. This classically is 30 minutes long. Act 2, called The Conflict, often an hour long, is where the conflict begins and expands until it reaches a crisis. Act 3, called The Resolution, the conflict rises to one more crisis and then is resolved.How To Write The TreatmentFind A TitleWhether the screenwriter is creating a new story or writing a treatment based on an existing script, the first step is to make sure that the screenplay has a good title. The first contact a prospective producer has with a script is the title. Pick a title that gives a clear idea of what genre the screenplay is written in. (See my 2-part article that appeared in this magazine for more detail on genre. A good title can predispose a producer or reader to like a screenplay because it suggests the kind of experience that is in store and arouses curiosity. Great classic film titles include It Happened One Night, Psycho and Die Hard. A film I recently consulted on is called, And Then Came Love. This is a good title because it describes the story and the style or genre it's written in - a light romantic comedy. The title does not determine whether or the screenplay is good but it can be a great marketing tool. There's a famous quote that is helpful to keep in mind when naming screenplays: "What's in a name? That which we call a rose by any other name would smell as sweet". Romeo and Juliet (Quote Act II, Sc. II). If you want a producer to read your script, pick a name that matches your story.Write a loglineThe second step is to write a logline. Preparing a log line for your screenplay is a basic marketing tool that I have repurposed for developing treatments. It is similar to the summary given in TV Guide. It is a technique for boiling down a plotline to its essence that has been described as trying to vomit into a thimble. Follow the example below when writing a logline: And Then Came Love is a character-driven romantic comedy about a high-powered Manhattan single mom who opens Pandora's box when she seeks out the anonymous sperm donor father of her young son.Write a synopsisThe third step is to a synopsis. Begin by expanding the logline into a three-act story Start with the end. For example, Let's work with The Silence Of The Lambs: Act 3: Clarice Starling catches the killer and saves the intended victim. Then break down into three acts. For example,Act 1: While still a student at The FBI, Clarice is asked to help on a case. She's eager to help and interviews Hannibal Lector who gives her a clue. Act 2: With his help, she is able to overcome many obstacles, and finds the identity of the killer. Act 3: She confronts the killer, saves his intended victim and atones for the death of the lamb. The scriptwriter should follow this break down for his or her story, and then expand this into a synopsis. Follow the example below of And Then Came Love: Julie (mid 40s), a successful Manhattan reporter-turned-columnist believes she has it all - a great job, a rent controlled apartment, a boyfriend and best of all, an adorable six-year-old son named Jake, whom she conceived via an anonymous sperm donor. Her perfect world, however, is rocked when she's called in for an emergency parent-teacher conference and learns that her son has been acting up, needs to be 'tested' and is on the brink of expulsion. Over-whelmed, Julie instinctively blames herself... it's easy to do since her mother has made her feel inadequate for not being a stay-at-home mom. Julie, however, will not concede that her mother could be right, so she places genetic blame on Jake's anonymous father. Through a private investigator, Julie learns the identity of the donor and meets him - Paul, a struggling actor and law school dropout. Julie has neither intention nor desire to reveal her identity to him, she simply needs to check her sources, get the facts, and move on. A child psychiatrist tells Julie that Jake does not appear to have ADHD, but could benefit from a "father figure" in his life. Julie's boyfriend, a charismatic photo-journalist is up for the challenge and proposes. Julie believes her life is back on course until Paul, the donor, shows up, hoping she'll promote the offoff Broadway show in which he's performing. Jake instantly bonds with Paul. No matter how hard Julie tries to keep Paul from complicating her life, the more he does as he begins to fall for her, and she finds she can not deny her feelings for him, and her boyfriend is pushing to set a date. ( written by Caytha Jentis, writer/producer)Writing TreatmentOnce the synopsis is written, the preparation is complete and the screenwriter can take the synopsis and expand it into a treatment by correcting structure and adding detail. Now write your treatment following this . Good Luck, and don't forget to register your treatment with the Writer's Guild of America.————————————————————————————转自 有空再翻译成中文。
显然，你需要阅读罗伯特·麦基《故事：材质、结构、风格和银幕剧作的原理》。
大纲。说起来最麻烦的就是大纲了，因为大纲的种类很多。有故事大纲、分集大纲、分场大纲。故事大纲可以理解为梗概的升级版细化版。电影的话，有时候到梗概就可以了，不需要大纲；电视剧的话，大纲是必须的，根据具体的集数，一般都在１００００字到２００００字左右。最短的不能低于５０００字，最长的没数过，反正分集大纲我见过７０００字一集的，简直是没有展开台词的粗剧本了。大纲可说的太多，还有很多在大纲里需要搭配的，比如人物小传等等，干脆另开一节单说吧。
故事，需要的是“痛点+爆点”，之后是层层递进，甚至按照系列方式，埋藏下一续集因子。
试验依据、原理、方法、仪器、步骤、注意事项等
知道作文怎么写吗
电影大纲就和小说提纲一样写。