A group of childhood abuse survivors goes on a downward spiral when they come together to share stories and heal.

    Samurai Posted on January 12, 2020 in Drama.
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      Having read quite a few of your entries I’ve noticed most (if not all) of said entries have been under 25 words so I want to make it known that when it comes to writing Loglines don’t be afraid of going over 25 words.

      A Logline I recently wrote took me 58 words to explain the idea to myself, and in doing so I came out with a better understand the scope of my the overall story. From there I whittled that down to 40 odd words, then 35 odd and eventually down to 26 words. I found my favourite version of said Logline was 32 words long and I would not have known that if I didn’t push my Logline past the 25 word boundary.

      When it comes to Loglines be aware that there are 2 Different Types of Loglines: One that you will use  during the planning/writing phase and one you will use for marketing purposes. I call the former a Working Logline and the latter the Logline Pitch.

      My 58 word behemoth would be an example of a Working Logline (of which I have refined said 32 words).

      My 26 word Logline on the other hand could very well be my Logline Pitch. Chances are if you were sending your work to a film festival or an agent there could be a 25 word cut-out, so with the elimination of one word I have myself a marketable Logline.

      With this I have two distinct pitches: a personal one that makes sense to me and a marketable version that makes sense to everyone (and/or target audience).

      Where I’m going at with this is that you can break the rules, but it is most important that you learn and understand the rules. So break the rules, make it unconventional, and learn how the rules work because good writers are good editors, but even the best editor cannot work on a blank page.

      Penpusher Answered on January 12, 2020.

      Did I do something wrong?

      on January 12, 2020.

      It’s just missing elements.

      There is no single protagonist (an ensemble is always harder to write because there is more people that the audience has to invest in). The only goal is that they want to heal from child abuse, but that isn’t inherently compelling and the only thing antagonistic is as vague “a downward spiral.” A downward spiral can describe anything thus it specifies nothing.

      Loglines need to be specific. They aren’t made on guesswork. The reader/audience needs to know more than “here’s a group of people, they’re doing this because that happened, figure the rest out yourself.” Loglines are not a tagline. They are a story in itself spoken in the most direct way possible. If you read someone else’s Logline and don’t have a good image of how that story will play from start to finish then odds are it is a Logline a publisher/agent will discard without second thought.

      How publishers/agents/etc. see a Logline is that if you can’t get your overarching story across in 1 or 2 sentences, then you can’t explain it in a synopsis and thus they have no reason to believe you can write a screenplay.

      In this particular entry all you’ve managed to explain is the setup to a story and shipped it on a very vague terms with the hope that people will be able to imagine the rest. We don’t know what stories these characters intend to share. Child abuse stories? Success stories after the fact so that they can distance themselves from the past? Just because possibilities are limitless doesn’t give your Logline potential. It just makes it inconclusive and unrealised.

      on January 12, 2020.
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