Screenwriting : How do you create your logline? by Thomas Schlesinger

Hi, Thomas! I go by this edict: if you can explain your story in 1 sentence, you have one. Two is pushing it. Three, you need to distill the story down to its essence. Subplots, context and themes are wonderful, but don't worry about them in a logline. Just be able to tell someone who knows nothing about your story what it is quickly.

Hey Matthew, agreed! I used to resist the idea of boiling a script or series down to one sentence, but now I find it imperative.

Great post, Thomas Schlesinger. I don't see this talked about much. If you can capture that dilemma in your logline, great. I wouldn't force it though, and I wouldn't just add the dilemma to be adding it.

I'm with both of you about one-sentence loglines. I will use two sentences if need, but most of my loglines are one sentences.

I have been teaching a Logline class for over a decade. They can be tricky and hard, but you need to know your story. Here is the basic template for a feature I suggest, though obviously you fill in the details for your story.. and try to keep it to one sentence and 40 words or less... When X (inciting incident) happens, THIS (Adjective/Profession) PERSON is forced to Battle/Face/Overcome THIS in order to Active Verb/Goal THIS before/or else THIS occurs. this gives your story an innate structure, gets across stakes, goal why your protag is the right one to do it, and should in your word choice get across genre/tone.

I use a similar template, Danny Manus. So much that has to go into a little thing called the logline. Haha

I personally like the "Ad Absurdem" angle of just stating the premise in the stupidest, funnest way possible before dialing it back, although that's mainly because I do Scifi/Fantasy stuff which is kind of hard for execs to understand what'd be good about it.

I feel that the logline is essentially a marketing tool - used to sell a script. I don't see it as a writing guide. When I start a new story, I do write a 'logline' but it's just a suggestion. When I'm through all the drafts and think I'm finished - that's when I really write the logline.

For Tootise I would say: An unsuccessful male actor impersonates a woman for a bit part which becomes a career forcing him to live a lie to keep the success he craved as a man.

For me a logline is the quickest way through the story showing the theme or need of the character. It can take many forms. But once read you need to be able to see the film in your mind.

I've posted this several times in the forum, but here is the formula I use.

For many writers, loglines are a serious challenge. Think of your logline the same way you would if you were trying to craft a hit song. You have limited time to grab someone's attention.

For the goal of getting a producer/actor/agent to read your script, crafting a good logline is the first step in the process. If your logline is bland, why would anybody want to read your synopsis, let alone your screenplay?

When you write your logline, a good rule of thumb includes protagonist, antagonist, obstacles, and challenges. Then summarize your story in a sentence or two.

Examine this logline from the classic film The Sweet Smell of Success

A press agent, hungry to get ahead, is pushed by a ruthless columnist to do cruel, evil things and is eventually caught in the web of lies that he has created.

1) The logline is 32 words and is stated in a high-concept sentence.

2) It identifies the press agent, a damaged protagonist controlled by the antagonist, a ruthless columnist.

3) The logline informs the reader of the consequences of the protagonist's actions.

I had written fourteen plays before I learned about the need for a logline so I'm with you, Doug. LOL

Uncle Phil - I'll venture that particular logline evolved towards the end or after the umpteenth rewrite.

Doug: you might be right.

Filmable concepts create loglines "on their own"...If logline doesn't work it's a first sign of story "illness"

You're right, Kiril ("If logline doesn't work it's a first sign of story 'illness'"). If I can't figure out the logline during outlining, I put the project aside until later (when I can figure out the logline), or I don't work on the project.