One of the things we struggle most with is comprising our entire 90+ page document in compelling loglines and pitch packages. Honestly because we either think our writing isn't good enough (the constant struggle to actually "leave something as is" / overscrutinize or overfret your work)
What is your process in creating the perfect pitch or logline? What are your struggles, or do you find it an "easy feat" to comprise your work in a single logline or pitch?
Would love to hear your thoughts.
1 person likes this
Protagonist plus goal plus obstacle plus antagonist is usually a good start.
I have an issue when it comes to loglines. I can easily write the perfect logline for OTHER people but I struggle and obsess and torture myself to write one for myself. After a dozen screenplays, I still have problems putting together 30-40 words to describe my 90-110 page screenplays.
Good question for sure, if my teenage son can understand what I've written I go with that.
I always try my best to include the protagonist, inciting incident, goal, conflict, stakes in a way that flows best and ends the biggest twist/revelation. I usually start off with simply:
When (PROTAGONIST) is (INCITING INCIDENT) they must (GOAL) or else (STAKES) but (CONFLICT/MAIN OBSTACLE).
Then I'll juggle it around from there. This isn't always effective, I'll admit.
I usually get liquored up on whiskey and then type the hell out of a pitch.
Lol just kidding. When it comes to writing a pitch, there is no such thing as an "easy feat" for anyone. You're taking a 90-120 page screenplay and trying to boil it down to one or two sentences. Think of the pitch as a sick beat to a really good song. It's gotta be vague enough where nothing specific is said (protagonist's name, for instance) yet good enough where the person you're pitching it to either has never heard of something like it before or has heard something similar but not in such a good way. The best way to do that is to know what your story is all about, what it really comes down to. A good way to practice is to take a film that you've seen and try to write down what you would put as the pitch. For example, take "A Few Good Men". Maybe the pitch would say something like, "A young lawyer struggles with his father's memory and his capabilities as an attorney as he works to acquit two Marines accused of murder."
Short, sweet, and encompasses what the story is about without giving anything away. Basically, make it something that you could say to someone on an elevator. Hope this was helpful. =)
1 person likes this
I try to think of my logline and the general look of the movie's poster BEFORE writing the script. After all, like it or not, we're selling a product. If the logline and poster don't instantly seize the interest of the average person, why write the script?
2 people like this
I created a goofy one-page pitch (basically a movie poster with a brief synopsis) and sent it to a Marvel Actor. Shockingly he responded and asked to read my script. Didn’t have to go through his Agency, manager, PR team, lawyer. Straight to the Talent. One page- either folks gonna like your concept or pass. I don’t need an explanation. Just a yes or no.
1 person likes this
I'm with Henry - I too approve of the whiskey method (no coke, no ice) :)
1 person likes this
Dan - Love it! Very original!
Erik A. Jacobson yep, a few hours on Excel and clip art. Cheaper than paying for 3 billboards in LA :)
Hello Twins: Many folks find loglines vexing but most industry types won't look at a script if they think the LL blows. I've posted this several times in the forum. I'm posting again for you.
For the goal of getting a producer/actor/agent to read your script, crafting a good logline is the first step in a process. The second step is getting them to read your synopsis. The third step is getting them to read your screenplay. Without performing the first two steps correctly, the third step is unlikely to happen. 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 is to include protagonist, antagonist, obstacles and challenges. Then summarize your story in a sentence or two.
Look at 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 and evil things, and is eventually caught in the web of lies that he has created.
The above logline is 32 words. It identifies the press agent who is a damaged protagonist controlled by the antagonist, a ruthless columnist. The logline tells you the consequences of the protagonist’s actions. This is exactly what you may want to consider when writing your logline.