UNDERSTANDING

DOCUMENTARY PROPOSALS

Documentary proposals present a story. A strong proposal implicitly points to the wider significance and context of the story as well as its potential impact. Grantmakers need not ask for a large amount of material in a submission as it may be possible to assess a proposal based on a two to three page outline by asking key questions such as those provided above. However, should a grantmaker request a more detailed proposal, below is a guide to understanding the form of documentary writing.

Documentaries are written as a brief synopsis, an outline and a full treatment.

1. SYNOPSIS

The synopsis tells in a sentence, a paragraph or one page the film’s basic story.

A sentence or two includes the subject, characters, context and what might unfold. The one-page synopsis tells us more than just the subject. It reveals the filmmaker’s intended interpretation of the subject. This is what distinguishes a documentary from journalism or current affairs.

A paragraph communicates in a few sentences whose story it is, where it takes place and what is likely to happen. It also points to the broader themes that the story explores. This indicates the wider significance and potential impact of the story.

A one-page synopsis provides more detail about the main characters, develops the themes, indicates how they are played out by the characters, and illustrates any possible conflict and twists in the storyline. A one-page synopsis makes the story structure apparent, indicating how it will begin, develop and how it is likely to end.

A documentary synopsis can only be a statement of intent as it is impossible to say exactly how a documentary story will unfold. However a good writer will be able to map out the potential directions the story may take, the possible conflict that may arise and what is at stake for the characters, so we can identify with their journey. A good documentary synopsis involves readers in the characters’ situation, engages them in the choices the characters make and outlines a dramatic structure that inspiring the reader to follow the story through to its outcome, whatever that may be.

2. OUTLINE

An outline for a documentary fleshing out the story structure and reveal how the issues will be explored. Through its narrative structure and character description, the outline reveals how the unfolding story will deliver its argument. The chosen style for the documentary is clear from the outline. This is where it is possible to judge whether the proposed style is appropriate for the story. For example, a historical story would be difficult to tell in an observational style and would most likely involve either archival material or recreations. A story revolving around a present day, current issue with an inherent drama may be better told in an observational style, particularly if the characters are compelling.

The genre of documentary is broad and engages a wide variety of storytelling techniques to communicate its message. Generally the form of a film should evolve out of its content. The best documentaries have a perfect and harmonious match between the story and it’s telling: the story and style are seamless.

An assessor looks for what elements will be used in the storytelling. Archival footage, still photographs, dramatic re-enactments, stylised treatment of reality? Will there be narration? What style of voice-over is intended? Is it first person or objective? What kind of music is imagined? This will tell you something about the rhythm and feel of the documentary.

Is there something new that the filmmaker is bringing to the story or issue?

An outline must indicate that there is a story in the proposed material and there will be a compelling journey through the real material that will engage viewers.It must reveal the relationship or rapport that the filmmaker has with the characters and provide an indication of trust and access to the story. The outline also shows that the intentions of the filmmaker are achievable.

Finally, an outline should be a solid framework for the structure and unfolding of the narrative, the characters journeys and the wider thematic implications of the story.

There is also room in the outline for the filmmaker to explain why they feel this story will have relevance to an audience. Once again, why is it interesting, who is the main character, what is at stake, how will this be revealed and why is this of relevance to an audience?

As an assessor of any documentary proposal, you are its first audience. If it engages you and keeps you reading through to the end, then chances are it will engage viewers.

3. THE TREATMENT

The treatment builds on the outline and illustrates the style intended to treat the material. Documentaries draw on many techniques including conventional interviews, observational “fly on the wall” shooting, archival compilations, dramatic treatment of reality, animation, graphics and so on. They may be shot on location or in studios with projected backgrounds. The different treatments of reality will provoke different emotional responses to the material.

The treatment may include quotes from interviews, a description of how sound and the style of music might be used to give an indication of mood.

A strong treatment describes the film as you would see and hear it on the screen. It retains the strong structure of the outline and fleshes this out with visual descriptions, style, sound, subtext and rhythm. It frequently propels the story along with quotes from characters with each paragraph indicating the next scene or sequence.

It is important to remember that a documentary treatment is still an intention or plan of how things might unfold, and not a dramatic script, which functions more as a blueprint for action. But if substantial research has been done and the filmmaker is well acquainted with the characters, their situation and what might be at stake for them, then the treatment can fairly indicate potential narrative developments.

A solid treatment of the research develops themes and subtext dealing implicitly with wider issues of significance and highlighting why and how the story will connect with audiences. Once again, it is a statement of intent based on what you know from the research, who will guide us through the story, where and when it takes place, why it is of interest and how it will connect.

It is common to put extra information in background notes. This might include a background story, historical context, biographical or psychological information on the characters. Generally this is information that is relevant to provide context and background to the story, but would not necessarily be on the screen within the flow of the narrative. Because background notes interrupt the flow of the treatment they are generally provided in a separate section.

Initially, foundations may only require the synopsis to determine the fit and scope of the project.

4. ASSESSING FOOTAGE

Whilst most foundations won’t get involved in assessing footage, below is a guide should the occasion arise. For assessors used to viewing completed documentaries on television, watching rough footage can be misleading without a guide of what to look for in the material.

Research Footage

During research many filmmakers film material to get a sense of characters or to follow some action that is time-critical and needs to be documented before waiting for funding to be committed. The director or producer of the program may pick up a camera and cover some action but they are not necessarily professional cinematographers. It is always useful research to take a camera into a situation to test the response of people to a film crew. Using rough footage captured by a minimal crew often turns out to be an excellent research tool guiding the writing and focus of the documentary.

For this reason, research footage is often rough – the camera may move around a lot and the sound may be less than perfect. It is important to look through the technical weaknesses of research footage to see if there is something compelling in the characters and their context that will illustrate the issues the foundation wishes to support.

Once a filmmaker has financial support, they are able to employ cinematographers, sound and editing crew to ensure superior technical quality. Editing enhances rough footage enormously, aided by sound post-production and music.

The intention of research footage is mainly to show character and location, and shouldn’t be judged as the production quality of the final film.

Production Footage

When a filmmaker has applied for funding to support a work in progress, they may submit footage captured with the intention to be used in the final production. This footage should be a different quality to research footage. It should be of a higher standard technically, good to watch and easy to hear. Sound recording is extremely important in documentary production; even if the pictures look good, if you cannot hear what people are saying viewers will switch off.

Production footage may not have captured the whole story or the complete event revealing the issues. As a work in progress, there may only be sections of the whole that have been recorded, but there should be clear evidence of engaging characters involved in a developing situation.

For a standard industry guide on a synopsis, an outline and a treatment, read the Australian Film Commission guidelines (pdf).