When new clues from the diary of her long lost brother, help a young woman to solve a riddle of decades old crime, she is compelled to go to Siberia in search for her vanished family and a missing treasure.
You see, when I wrote my book ‘Corridor One’ my goal was to write good mystery and adventure book without dead body on a second page, without ‘ketchup’ and noise of the shattered bones. I think I succeeded. Same I would like to achieve in my movie. In my second book I’m writing ‘Corridor Two’ I may introduce more antagonism and more action, but it will be in an intelligent and in an intriguing way. I may be wrong but it is my style and my view. Let somebody else murder, robe, rape and run from authorities. OMO Thank you and hope to hear from you soon.
The problem I have with this logline is that I don’t comprehend the causal relationship between clues that help her to solve the murder and the trip to Siberia, how the former is the inciting incident for the latter.
And I shouldn’t have to read the book, or a synopsis, to figure that out.
OK i got it. It will be hard to explain in one sentence since the story is complicated and twisted. By giving up the link about her brother diary, old unsolved crime and what motivated her to go to Siberia I may give up all the ‘meat’ of the story. Interesting – how to do it without? Need more experience and trying. Looking forward to hear any advice or examples 🙂