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THE ART OF EATING ICE CREAM
By Deen Ferrell
He's an international film star, battling to contain a 15-year-old secret with a mind all her own. She's a culinary genius, determined to turn the frozen dessert world upside down. Together, they uncover comedy, magic, and the painful truth: Love doesn't always follow a recipe.
SYNOPSIS:
Kelsie McDunn's family owns the largest energy consortium in the British Isles, but her passion is elsewhere. She loves food--more precisely, the creation of wonderfully wild and flavorful frozen desserts. When Isla, a precocious fifteen-year-old in Goth regalia, enters her shop on a quiet street in Edinburgh, Scotland, Kelsie's world takes a spin toward chaos. Isla wants to hire Kelsie to help her father, a man who she fears is "lapsing" into middle age. With Kelsie's imaginative flair and good looks, she's betting that Kelsie will rekindle her father's youthful vigor. Kelsie, intrigued by the girl, but not the proposal, agrees at length to meet the man, only to find he is none other than Alec Meikle, the international star of the long-running romance-adventure, "Sailor and Commander." Alec presses her to play along, hoping to keep Isla's existence secret a little longer. Dredging up the death of the girl's mother, he explains, will be painful for them both, so he's developed a plan to shield the family from the paparazzi. Kelsie agrees, wanting to help the girl and being intrigued by Alec, but the plan backfires when real sparks begin to fly on their fake dates. As Alec and Kelsie's romance seems to be pulling together, Isla's life seems to be coming apart. She becomes moody and hints at a secret of her own--one she can't let go. Kelsie, caught between the two, finds herself wading into a raging sea at the height of a terrifying storm to at last face Isla's full pain. It takes lessons learned from inventing dessert flavors to pull the girl back from the brink, and more than that to get them to safety when rogue waves yank them off their feet and the undertow carries them out to sea. The best flavors come from the strongest ingredients. Luckily for Isla and Kelsie, love is the strongest of them all.
THE ART OF EATING ICE CREAM
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That's a catchy title, Deen Ferrell! "15-year-old secret" is intriguing.
I think your logline needs a better structure. Here’s a logline template that might help: After/when ______ (the inciting incident/event that sets the plot in motion), a _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s position/job/career) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes).
The inciting incident can also be at the end of the logline: A _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s position/job/career) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes) after/when ______ (the inciting incident/event that sets the plot in motion).
Loglines are one or two sentences. A one-sentence logline sounds better, and it takes less time for a producer, director, etc. to read it. Try to keep your logline to 35 words or less. Long loglines can make producers, directors, etc. pass on a project.
Avoid using “must” in loglines. “Must” usually means the protagonist is forced to do whatever they need to do in the story instead of doing it willingly. You might need to use “must” in a logline though, like when the protagonist is forced by another character to do something. Using “must” to choose between two options is fine.
Names in loglines are usually for biopics, well-known stories, and franchises (like Mission: Impossible).
Sometimes I put the location and date that the story takes place in instead of the inciting incident if it’s a Period Piece script.
All stories don’t follow this logline template. Biopics, documentaries, and Experimental scripts might not follow the template. The series logline for a TV show can follow this template, but the pilot logline and episode loglines for the show might not.
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