![]() Now, you may be looking at that logline for Rockingham and wondering what the stakes are in that script. “An egotistical cinephile” paints a much clearer picture. Instead, give us a sense of who they are. Don’t tell us the name of your main character unless it’s someone real, like OJ. We need to know who we’re rooting for, how they’re going to get what they want, and what’s standing in their way. But these three elements of your script are the most important. Ideally you’ll also include the villain (if you have one) and the setting. Don’t overlook the main character, the conflict, or the stakes.That said, there are a few rules for how not to write a logline. The best logline for your script is going to depend on your genre, your subject matter, and your personal style. The conflict isn’t included specifically, but the reader can quickly assume that this kid is going to get backlash from a few sources: his parents, fellow students, the administration, maybe even a local family-values group.Īs you may have gathered, there isn’t really a single set of rules for how to write a logline. It includes the main character, the goal, and the main action. This logline is a bit longer, but it’s still a succinct, easy to follow sentence. The next screenplay on the list, The Swimsuit Issue by Randall Green, isn’t based on a true story so it requires more explanation: ![]() If you’ve never heard of OJ Simpson, this is a terribly vague logline, but OJ is infamous enough not to require further explanation. “A look into the mania of the OJ Simpson trial, through the eyes of Simpson’s sports agent Mike Gilbert and Los Angeles Police Department Detective Mark Fuhrman.” The next highest-rated script, Rockingham by Adam Morrison, breaks the rules in the same way: However, because this script is about a historical figure whom we’ve probably all heard of (even if we’re not familiar with the details of her life) Kristina can get away with being a bit vague since anyone who reads this logline should have a basic understanding of the obstacles Sophia might have faced. The conflict is only hinted at in the subtext of this logline, which is usually a bad idea. It’s an appropriate length and it’s to the point, but it doesn’t really give us a sense of what’s standing in Sophia’s way. This logline breaks a few of the standard logline rules.
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