The joys of loglines and other news

Blase Pascal

So, I’ve been writing. And editing. And learning the joys of writing loglines, which this post is ostensibly about. But first, my big news:

I have finally been awarded the degree of Master of Philosophy!

Huzzah! I will graduate in December and never a more relieved graduand ever there was. It’s taken more than two years since I submitted my dissertation to convince a seemingly endless parade of academics that my research has value. What have I learned from this experience? The most important part of your research is, in fact, the methodology. Without the right methodology, your research question and findings can be rendered near worthless. I had to do a lot of work to justify mine and I could have saved myself two years of (very part-time) effort if I’d known this up front. So, my advice to aspiring researchers: the first thing you should do after you decide your research topic is to determine your methodology. Then test that approach with a wide range of academics, especially those who may end up being your supervisor or examining your thesis. Only once you are satisfied that your methodology is sufficiently robust should you start your literature review and set your research question. The methodology is the backbone of your work.

This learning can be applied to creative writing. For screenwriting, this comes in the form of a logline. What is a logline, I hear you ask? It is the encapsulation of your story in a single sentence. It is the basis of your pitch to development execs. The logline therefore needs to grab the reader’s attention and make him/her want to read the screenplay. Not only does the logline need to have a hook, it needs give the reader an instant understanding of genre (If the logline is for a horror film, is it scary? If it’s for a comedy is it funny? If it’s for a drama, is it dramatic?), who the protagonist is, what their goal is and what struggles they will have in obtaining (or failing to obtain) that goal.

Sounds obvious, doesn’t it? Well, it is. However, the art is in the execution. I have (so far) written upwards of 50 variations on the logline for my adult romantic comedy (which I referred to in an earlier post as SUMMER SOLSTICE, but whose working title is now CHARLEVOIX, after the town it’s set in) and I still don’t have it right. This is because I wrote my first screenplay before I wrote the logline. Just like I wrote my dissertation without having a clear understanding that the academic merits of a master’s level thesis based on a single qualitative case study was hard to justify. Call me a slow learner.

Now that I’ve realised how important the logline is, I’m researching my butt off to learn everything I can about how to do it well and then I’m practising, practising, practising. And revising, revising, revising! Here is my logline for CHARLEVOIX as it currently stands:

Escaping from New York to Michigan’s Sunset Coast, a neurotic romance writer struggles to meet her publisher’s deadline when she tangles with a free-wheeling bluesman straight out of one of her books.

The logline, while still needing work, is only as good as it is through having been workshopped with a bunch of very generous and talented writers over on the Bang2writers’ group on Facebook, run by Lucy V Hay, whom I name-dropped in my previous post. There are also a gazillion logline resources on the web for those who want to join in the fun.

Now that I’ve realised a weak logline makes for a weak story, I know the very first thing I’ll do when I launch into my next screenplay (AFTER NO. 10) is to make sure I write and road test the logline.

So, two lessons for today:

  • Sort out your approach before you begin writing. This doesn’t mean you must plot out every detail, but if you don’t know what story you’re going to tell and how before you begin, you’ll most likely run into issues down the track which will take a lot of work and time to resolve.
  • Surround yourself with kind, generous and talented people whose experience can help you learn. This doesn’t mean asking your BFF to give you feedback that makes you feel good about yourself but doesn’t help you write commercial-grade narrative fiction.
  • (I know I said two lessons, but here’s a bonus) Don’t pull the ladder up behind you. Give back to the community once you’ve gained some experience and success. This can only make the creative arts stronger and better.

And, finally, very exciting news! My reward to self for completing the MPhil (and demonstrating the power of resilience and determination) is an October trip to the East Coast of the USA. I’ll be taking a field trip to Charlevoix, among other Midwest destinations, and visiting Boston, NYC and Washington. More about the trip in my next post!

This entry was posted in Collaboration, For the screen, On writing. Bookmark the permalink.

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