Great ideas bloom every day. But most wither and die because capturing a great idea is really the easiest part of any process — Especially filmmaking.
When you have a great idea for a film, the next step is creating a logline. Some writers might save the logline until later, but that’s risky business. On my first script, I did just that. Saved the logline for last. What happened? I realized there were problems with my script. Problems that a logline could have helped me avoid.
A logline is a sort of DNA blueprint for your story. It’s only one to three sentences long, but it tells the entire tale. Until you have a working logline, you don’t have a working film.
Until you have a working logline, you don’t have a working film.
A logline is generally composed of the following:
You need to identify the hero, and if you can, mention their flaw (yes, a hero always begins the story with imperfection). After the imperfect hero is introduced, you give a verb telling what they’re doing, introduce the antagonist, the hero’s goal and the stakes if the goal isn’t met.
So what is our logline for Paradise Strikes?
A forest ranger takes a job on the island of Kauai after a bad experience in Montana, only to discover an ancient curse with an appetite for people. Now she must face her fears and defeat the curse before everyone on the island is killed.
Every story begins with a flawed hero.
So we know our hero cut and ran from a past bad experience, only to relocate to paradise and be faced with something worse. Our antagonist is a curse that is in some way killing people. The goal is to stop the curse. The stakes? If she doesn’t, everybody dies.
Just like the smallest part of the human body, if a logline isn’t right, everything else will have problems. Forcing a great idea into a logline, ensures you have a tellable story, and opens the door for the next step!
Thanks for your interest in Paradise Strikes. Stay tuned for exciting stuff!