Stage 32 can't wait to welcome Christopher Lockhart back for his webinar tomorrow! In this exclusive stage 32 webinar, Chris will break down the mechanics of a logline to determine what makes one work. He'll show you what aspects A-List actors, directors, managers, agents, producers, financiers and development execs look for in a logline that makes them want to take the next step and read your script. Chris will then take you on a broader discussion of the elements of successful screenwriting and how your logline can betray what you've written or reveal the shortcomings in your script.
https://www.stage32.com/webinars/How-To-Make-Your-Logline-Attractive-to-...
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Email me at edu@stage32.com for more details, really excited for this one!!
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This is going to be a great webinar! Can't recommend working with Christopher enough.
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It will be fun. I've got a lot of info to share.
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Just ordered the webinar, Christopher Lockhart!
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Every writer wrestles with loglines to hit the perfect notes that get people to read their work with excitement. Every writer should learn what Christopher has to share on this topic in his webinar. He's the best in the business.
It starts in 19 minutes, J.D. Elliby.
You're welcome, J.D. Elliby. I'm trying to join now, but the GoToWebinar app is acting up. I'm gonna keep trying.
I'm in, J.D. Elliby!
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I appreciate this amazing session, and the opportunity to connect around all the great information shared. I'm in-and-out with Stage 32 but will check back in. Best wishes to you all. Also, quick note: Since this session ended, I have rewritten all the loglines I have shared on my profile here. : ^ )
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What an incredible webinar! The exercises and Logline review at the end were extremely helpful. I have one question regarding a Logline formula:
WHO - STRUGGLE - TRIGGER - GOAL - STAKES - would you say it's useful to include all elements, or only use WHO - NEED - OBSTACLE? Thank you!
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Wow!!! Incredible webinar/breakdown, Christopher Lockhart!!! Glad I was at this one! Thanks for hosting the webinar! Thanks for moderating, Sydney S!
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This webinar was so insightful, I can see clearly now what I must do to improve my loglines, I really liked the examples that were given from loglines for hit movies. I can see why those screenplays were picked based on the impressive loglines.
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I'm excited about applying the content we covered today to rework my longline.
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Christopher Lockhart What a fantastic webinar. I firmly believe all of us (audience members) got what we wanted from this session. Your slides and explanation nailed the subject and everyone from this session should be now modifying the loglines to make them industry standards. I missed the opportunity to have my logline reviewed by Chris :-(
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Thanks for your kind words & support. I'm happy you got something out of it. Good luck with your work.
Olga, including additional info might be necessary. But if you're clever, you can use certain phrases that will consolidate your logline. For example, in my logline for JAWS, I did NOT mention a "trigger." I did not refer to the girl who gets killed at the opening of the movie. Or the boy who dies on the Sheriff's watch (which is the inciting incident). I merely referred to the shark as "man-eating," which infers it has already killed. So the "trigger" event is easily disguised in the logline.
I mentioned MINORITY REPORT, off the top of my head, during the session. It's a story whose logline might need some set-up. It could go like this:
"In 2050 Washington DC, a psychic crime prevention program, called "precrime," empowers the police to arrest criminals before they commit their crimes, but when an ardent precrime cop finds himself accused of a murder he has not yet committed, he struggles to prove his innocence and put an end to precrime."
There's a shorter version of this in there, but it seems necessary to provide some information that goes beyond "protagonist," "need/goal," "antagonistic force."
I mentioned that most loglines contain information from the first act only. However, there are exceptions - like THE SIXTH SENSE.
After we ended, I thought of the recent horror thriller BARBARIAN (starring and produced by my client Bill Skarsgard).
Spoilers ahead:
A logline for BARBARIAN is tricky because the screenplay uses an atypical structure and doesn’t get to the true dilemma until about midpoint (which is similar to THE SIXTH SENSE). And then it switches its POV for about thirty minutes.
And while it veers away from basic dramatic structure, it does things very well. Firstly, it starts right off with the initial dilemma of Tess (the protagonist) learning her AirBnb is already occupied with a young man (Skarsgard) with whom she is unacquainted. (This set-up is reminiscent of Neil Simon’s THE GOOD-BYE GIRL. BARBARIAN could very easily be the start of a rom-com.) But we’re made a little uncomfortable, as we don’t know if we can trust Skarsgard.
It’s always best if you can introduce your character in the midst of some kind of conflict – rather than a stereotypical scene of a character waking up, brushing her teeth, and making breakfast. While writers are told to introduce the ordinary world of their character at the start, it doesn't mean do it with boredom. Always use conflict.
As mentioned, the logline usually contains first act information. Here, the first act introduces weird and unsettling stuff. But the end of this act doesn’t present a “need/goal” for the protagonist in an overarching sense. However, we can extrapolate the goal here even though we don't know the true dilemma. We’ve seen enough of these movies to know the story will revolve around her survival - even if that's yet to be confirmed. Regardless, we’re still riveted by what she’s discovered and the events up until midpoint. The story beats and pacing are excellent. Most importantly, the protagonist is always active – and her actions revolve around the mystery of who Skarsgard might be and what’s happening in the house. This is all important because it keeps us thoroughly engaged while waiting for a story purpose (goal).
A logline for BARBARIAN, IMO, would need to exceed some barriers. It could go like this:
"Doubled-booked in an Airbnb with an awkward stranger in an abandoned area of Detroit, a tenacious young woman struggles to survive in a house that hides a dark and deadly history."
I wouldn’t include the Justin Long character in the logline because his role is not crucial to the three elements (protagonist, need/goal, antagonistic force). Our girl would be in trouble without Justin Long.
Regardless of how offbeat a story may be, one can still put together a logline that’s accurate to the screenplay, provided the script has the right dramatic elements.
At its core, BARBARIAN is a haunted house movie. Been there, done that. However, it takes a fresh, atypical approach to its structure - making it feel like we haven't seen it before.
Even if the story goes outside of the lines, one can still construct an accurate logline that best shows off the vital dramatic elements of the screenplay.
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Thank you very much, Christopher Lockhart - this makes sense, I've incorporated a clear goal into the logline and weaved the trigger into the narrative!
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You're welcome, Christopher Lockhart. Great additional advice! Best to you on your projects!
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I’m currently watching this and am blown away by how much I’ve learned so far. So informative. A must view!