Thank you for shearing. I think that in a logline it is important to clarify certain things; how it sounds is secondary. I use the following structure:
1) Who is the hero
2) The hero’s goal
3) Main obstacle \ antagonist \ main conflict — what \ who prevents the hero from achieving the goal
4) The outcome — win or lose in achieving the goal (or an intriguing question)
Example (of the script "Assumption", I am working on): When a priest fails to dissuade his mother from euthanasia, his goal becomes to restore her faith in God and lead her to repentance, so that she may have a chance to enter heaven. How far will he go, and is he prepared to face the secret his mother has hidden her entire life?
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Alternatively you can focus on the characters:
When _______ (inciting incident) happens, _______ (the protagonist) must _______ (goal) otherwise _______ (stakes.)
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When new logline formulas are posted, S32 Members must run and hide otherwise their heads will explode.
2 people like this
Thank you for shearing. I think that in a logline it is important to clarify certain things; how it sounds is secondary. I use the following structure:
1) Who is the hero
2) The hero’s goal
3) Main obstacle \ antagonist \ main conflict — what \ who prevents the hero from achieving the goal
4) The outcome — win or lose in achieving the goal (or an intriguing question)
Example (of the script "Assumption", I am working on): When a priest fails to dissuade his mother from euthanasia, his goal becomes to restore her faith in God and lead her to repentance, so that she may have a chance to enter heaven. How far will he go, and is he prepared to face the secret his mother has hidden her entire life?
2 people like this
Good example, I think is the following.
A paraplegic Marine on a mission to Pandora must choose between his orders and protecting his newfound home.
James Cameron’s Avatar (2009)