To get a feel for how a logline should read, start with a basic structure. Supporting characters, B stories, C stories, twists, turns, and reveals? Save all of that for the pitch and the script itself. If you let go of the false notion that you have to tell your whole story in one or two sentences, you'll ignore the need to include elements that aren't central to the core concept of the story you are trying to tell. Those are the elements that comprise the concept of a story. When industry insiders read a logline, they need to be presented with:
It's the first contact Hollywood will have with you and your screenplay. It's what you, managers, agents, development executives, and producers will initially use to get your script considered, pitched, purchased, developed, packaged, financed, produced, and distributed. It's what gets you into the conversation. It's the first selling point of your screenplay. You're presenting the core concept of your script. Nothing could be further from the truth - and that is the first logline lesson that screenwriters need to learn. And many perceive them as being "evil" because they feel that the industry is asking them to condense their one hundred page script (give or take) to 25-50 words. Loglines are a necessary evil in Hollywood. Here we step away from in-depth directives, theory, and rules to offer simple guidelines that you can apply to your process to help you write the most effective logline for your screenplay. But much like screenwriting, there’s no secret formula to success. Writing a compelling and engaging logline is an art form unto itself. What are some simple guidelines screenwriters can follow to write effective loglines?
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