Screenwriting : Blake Snyder and the Logline by LindaAnn Loschiavo

Do you mean Blake Snyder?

Yep. Typing with very very long fingernails is a curse, Pierre, as well as thinking while typing. :-D

:)

My sense of humor is intact, however . . . (I hope).

I think doing your logline first is a great way to go. It's so important to summarize your idea into one or two sentences.

I've heard/seen this from a hell of a lot of pro' writers and think that the idea is basically, if you're unable to pitch/market your idea, why bother to write it? Some will say that questions arising from loglines can make a writer see potential plotholes, but I completely disagree, as these things should be tackled in the plotting stage, not the TV guide summary.

Everyone works differently, I find it useful but by the time the script is done, a logline will usually change (for the better). The important thing is to know what story you are telling, what character is the best perspective to tell it from. What obstacle is going to get in that character's way and how are they going to overcome it (if they are). Whether you put that down in form of a logline, outline, cards, synopsis whatever... the more you have your story map in mind the less likely it is you will get hung up and lost in the middle.

I think the logline would change the more one write's their script. So by the end of the script, you may have written a better ogline than what you started with. Everyone has their method that brings them to the same goal.

Blake may have been successful and writing the logline may have worked for him, but it doesn't work for me, I follow a different route - every writer will have their own way of doing things and I have no doubt following Snyder's example will be embraced by many which is fine, but again, not for me.

http://1st10pages.com/2012/10/26/the-best-logline-ever-written/

Laurie, that quick description of "The Wizard of Oz" was so deliciously malicious. Thanks for posting it. Chuckle chuckle.

Yes, he's all about the genres and his own categories. EX: "Buddy Love" vs romantic comedy. Even a film like "E.T." would be "Buddy Love" (according to STC).

A logline could apply to thousands of stories as they tend to be fairly generic.(AGREED) Reading is subjective (AGREED) So trying to pitch YOUR story, with your voice, to anyone else and hoping they land somewhere in your vicinity seems more like roulette. High Concept, even less words.

Yes. Then write the synopsis. Then the outline. Then the script. That's my method, and I'm sticking with it.

I absolutely suggest writing your logline before your write the script. And yes, I do suggest you use an adjective to describe the main character, often along with their profession or their place within the world. And yes, the compelling goal we can understand and care about. All true. Honestly, I'm not sure who would find fault with those things. If you do, you probably don't have a good logline.

As several folks have articulately stated, crafting your screenplay is a process that requires education and talent. However, anyone who has looked at my work over the past year began that process by reading a logline and synopsis. Writing a logline shouldn't inhibit your creativity. It should merely state what your story is about. If during the writing process, the story changes then change the logline accordingly. If you're interested in getting your work sold, I'm not sure anyone in the food chain would move your script around to others without a logline and synopsis.

And sometimes to writing screenplays about mechanical clones.

No offense Alle, but since you still have yet to have a feature film produced or distributed, I'm not sure how you can say you've had "many a successful screenplay". Youve had a few marginally successful short films. very different. Don't knock education unless you've had some. And don't deter those who want to learn instead of just figure shit out on their own.

Blake and I discussed his book/theories several years back at brunch at the Hollywood Roosevelt. The upshot of which was that many entry level writers were relying on his theories/suggestions as rules handed down from above (he may be doing that now.) When a story idea sparks to life in your brain – write it down. That’s your beginning logline but as the story unfolds, the logline will morph right along with it. When you’ve finally completed your polished script do you need to really polish your logline (commonly called an elevator pitch) that you use in marketing your script.

Hold up guys, am I weird? I mostly write the entire screenplay before carving the perfect logline-- it confines me to less freedom if I choose to write the logline before the screenplay. The idea boils in my head, I pick up a paper and I "fade in". (That's after drafting the outline) Sometimes, the beginning is clear but the ending might change, you might change the protagonist and shift the antagonist, "maybe". As I stated earlier, "most" of my screenplays started without loglines-- the reverse happen in rare occasions though. What do you guys think?

Jerry: I think you're confusing suggestions with concrete. When I write a screenplay, I like to have a clear picture of where I'm going with my story. I will always write an outline and logline. Example: Logline: A New York detective investigates a series of prostitute murders in the Five Points, loses his suspect and locates him again twenty years later in London, not having aged a day. However, during the process of writing the screenplay, I've had stories change significantly. For example, when other parties become involved. Here's what I do. I spend ten minutes rewriting a logline. Here's the updated version of my original logline. Logline: a handsome physician accidentally enters a pact with a voodoo God who demands payment in blood in exchange for immortality; and transforms from unwilling participant to unrepentant monster. It's the same screenplay but the logline evolved into something completely different. In the realm of writing, there are many guidelines people offer you. In creating art, no laws are violated in interpreting what works best for you.

I think a logline is a helpful way of starting to figure out the main essence/theme of your work. It's easy to dive into plot without really nailing down what the theme/message of your piece is!

May have commented here before - but loglines are usually something that a lazy reader/producer/studioexec wants to hear to shorthand the process and decide whether he or she wants to even read your COMPLETED screenplay. As the writer - you should not be worrying about a logline - until AFTER you've written something. And even then - until you're asked for it. Write the script! Screw the logline.

What a fascinating post. As one just starting out I appreciate everyone's opinions and do agree it's up to how the writer works, and what works best for them. I'm currently writing my 7th book which I'm adapting to a screenplay. Yesterday I was working on loglines to get an idea of the structure of the screenplay as it differs from the book, timelines and details that don't apply to screen. I'll admit it was difficult writing a logline to capture so much information, but as I worked on it I found the process easier as it made me focus on the key turning points of the book. I can certainly see how writing the script first would then probably make me change some things in the original logline and that is fine. I just want to deliver the strongest piece of work in the end. I'm also reading a lot of scripts for guidance as well. Many thanks all.

Cali: I do believe you have it!

Stuart - yes, if you take the time to write it - the LEAST they can do is read it. Every script that makes it as far as their pile. Most have readers anyway - who do the reading for them - write a logline and a synopsis and recommend it or not before it ever reaches the producer's hands. But if it makes it that far - than they should read EVERY script from Fade in to Fade out. That's THEIR job. You've already done yours by writing something good. Don't give them a shorthand.

I start with a logline knowing that it will change as my story develops.

I read your "logline mistakes", Stuart, and it was okay, I thought some were pretty good, but I also Googled logline examples of famous films and I didn't think they were that great either, buggered if I know.