Logline: Definitions

Let’s start by saying what it isn’t. It is not a tagline. It is not really a one-paragraph synopsis either. (and it’s definitely not a slug line) The Australian Film Commission says: “filmmakers are often asked to supply a one sentence version of their film story. This one sentence should give the most concentrated version … Read more

Logline: Introduction

McKee’s STORY gave me the illusion the logline is one of the last things you ever write. Why? Because during development, things can change. Of course McKee is right. The creative process is unpredictable and you know where you start but you don’t know where you’ll end. Really? If you are assuming things can change … Read more

Plot Point: Introduction

The essence of ‘plot point’ is the essence of drama, yet I find it hard to define. There will always be unresolved elements in its definition, much in the same way the responses to a kid’s unrelenting questions ultimately lead to the question about the Meaning of Life. Inside the Plot Point lies the Meaning … Read more

POV: Omniscient Point of View

In an Australian government document relating to script development I found the term ‘omnipotent POV’. In a specialised screenwriting magazine I read “omnipresent POV”(*).¬†Both are plain wrong. You’ve got to wonder: if they can’t even get the terminology right, there is reason to be concerned about their understanding of the concept. The correct term is … Read more

POV as Controller of Tone

A toddler looks at a man pulling funny faces, moving his limbs in crazy spasms. He falls on the ground, he hits his head. The toddler jumps with excitement. A female bystander watches the scene, her face contorted, fighting back tears. The introduction of the woman suddenly gives us a reliable POV. Although we still … Read more