The draft I read could be summarised in a one sentence logline. Based on that logline, I predicted the film would fail.

I am not the only one who makes snap decisions based on the logline alone. In fact, EVERY busy film executive does this – every day. And everyone I know in the film industry works incredibly hard to make a living. They have absolutely no time to waste.

Within this context, loglines are the only tool that allows you to make decisions quickly, and efficiently.

Many writers think they can write loglines. The truth is that only a very few understand this very specific skill. If more writers did, there wouldn’t be so many flawed concepts floating around. I’m not talking about execution now, merely premise.

I have been studying loglines for a long time now, and five years ago I decided to launch Logline It. Since then, it has grown into the leading website and a community dedicated to the promotion of effective loglines. Today, we have over 4,000 loglines on the site, and over 20,000 reviews to learn from.

Thanks to this site, many writers have perfected their loglining skills, and are now able to judge early on whether they have a story idea that could fly.

A properly written logline allows you to make a reliable snap judgment on the prospects of a project. This is one reason why the logline is the most powerful instrument to gauge the quality of a screen story.

1. A Snap Decision Tool

The logline is the smallest recognised industry format that allows gatekeepers to make snap decisions. Based on it, they may either eliminate a concept from their list, or allow it to jump to the next level (usually the synopsis).

For this reason, loglines are the most common summary in trade publications at the most important annual film markets: Berlin, Cannes, Sundance, Toronto, AFM.

2. Loglines Test Uniqueness

A properly written logline describes a screen story uniquely. Using three key story elements, it triangulates a film so effectively, it will differentiate your project from every other film made, or story told.

Using the power triangle of main character, inciting incident and story goal, you lay the basis of the logline – and that of your film’s 3-act structure.

3. It Shows Inherent Structure

Following the right logline format, you will give the reader an exact idea of the key information that will be conveyed in your story’s first act, and a promise of what may be expected in act two.

Most writers who don’t understand this, capture only about the first ten minutes of their story. They’re not to blame; most teachers don’t understand the function of a logline, and teach a format that is way too loose.

4. Loglines Express The Writer’s Vision

Until you understand your story thoroughly, it is impossible to write a logline that does service to it. For this reason, it often takes weeks, sometimes months before a writer is happy with their logline.

By the time the script is finished, the writer MUST be capable of conveying the essence of his/her story in one sentence.

5. Loglines Are A Guide Through Development

Robert McKee talks about the Controlling Idea, and John Truby discusses the Premise Line, but neither are particularly useful when you have to create them yourself.

These gentlemen provide us with extremely vague guidelines, and their examples fail completely and utterly in capturing consistently what is unique about the films they describe. While some of their examples hit the mark, others don’t. This proves that their approach is not systematic, not reliable – and therefore useless for the working writer.

I’m proud that I have developed a format that is used by every professional writer who has studied with me. Some use it as a basis to build their own version, but they all stick to the foundation I teach, because it is so simple and at the same time effective.

A properly written logline not only helps you capture the essence of your story, it guides you through the writing process. It helps you make tough decisions during development, and ultimately keeps you on track.

If you don’t already master this skill, it’s about time you get to it.

Test your own logline during the Logline It fifth anniversary event!
More details here.

Happy Loglining!

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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This is mostly analytical. So there’s no guarantee that you will deliver a successful story. Then again, no system does. No matter what the teachers promise you.

What this approach to the screenwriting basics does promise however, is a crystal clear grasp of what you MUST have before your story will work on a large scale. If this doesn’t seem all that new to you, I am still hoping to offer you a new perspective.

1. A Character

At the centre of every story we find (at least) one character. In film, this is mostly the ‘person’ to whom the story happens. Sometimes, it is the individual through whose eyes we experience the story.

Character also means the combined set of traits that define that particular person. This will come into play later, as we can really only see what a character is about when they act. Anyone can say anything. But will you believe them?

Before we can look at any other aspect of the story, such as its structure, we must know who this character is. For each character, there may be a different event kicking of their story. Of course each character should act in different ways.

And a great character will respond in a significant way to the Major Event.

2. A Major Event

Second step in the screenwriting basics: Something must happen to the character. A Major Event of some sort must trigger the story. Some people call this the Inciting Incident. I prefer to name it the Call To Adventure.

If the character starts pursuing the main story goal without this event, then the story will lack motivation. The audience may not even realise that the story has effectively started…

In brainstorming, this Major Event is often what you include in the ‘What If…’ statement.

Many teachers leave out this part of the story. Big mistake.

From studying story for nearly thirty years now, I am convinced that the Major Event is critical for a successful story. It is certainly indispensable in defining your story, in separating it from any other story told before you. Total screenwriting basics.

Many teachers leave out this part of the story.
Big mistake.

This is why I like to see the major event to be part of the logline.

Major events are more important than the story stakes. They often even imply the stakes, so you don’t need to mention stakes separately in a summary of the story.

This event must be ‘major’, in that it disrupts the life of the character. If it doesn’t, it is a non-event. In this case, either you don’t have a story yet, or the reader/audience won’t understand the story has started.

3. An action / Goal

Having a goal is not enough. The character must act, fight, struggle to reach that goal. A passive character, burning with desire, is a total bore. They must fight ferociously to get what they want.

Sometimes the action is directly in pursuit of the goal. In other words, the Hero chases directly what s/he wants.

Having a goal is not enough.

If you know your screenwriting basics, you will know this. In most love stories, the Heroes pursues the love interest. In most crime movies, the Hero wants to catch or kill the criminal(s).

In other cases, the goal or desire can only be fulfilled by first completing a task, or test. In Inception, Don Cobb must perform Inception (plant an idea inside a man’s dream) in order to see his kids again. In Avatar, Jake must relocate the natives in order to receive a new pair of legs.

Either way, the story goal must create change in the visible world. To try and achieve a different state of mind – through the ‘Inner Journey’ – does not typically qualify as a story goal.

Brainstorm Screenwriting Basics

When you brainstorm movie concepts, you must have all three of these screenwriting basics.

In fact, none of these can truly exist without the other two. This is why it is such a perfect system.

When you brainstorm movie concepts,
you must have all three of these story aspects.

It is something of a closed loop – or a mindf*** if you wish. You cannot really define any of these three within a story context without using the other two.

Get your head around these screenwriting basics, and you will see the beauty and the perfection of this approach.

This is the Holy Trinity of Story.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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by Steve Kaire

First of all, you should pitch what your story is about, not what happens in your story. Pitching what happens in your story is a recipe for disaster. It becomes an excruciatingly painful unfolding of scenes that lack a cohesive core.

When you pitch what your story is about, your focus is sharper. Only essential details are included. Your logline becomes concentrated and condensed. You do not summarize your story from beginning to end. I’ll repeat that for emphasis. You do not tell what happens in Acts 1, 2 and 3! You are giving the premise or set up of your material. That premise should be intriguing and compelling. Pitching a unique premise draws the listener in and prompts them to ask to read the entire script. That’s what High Concept is all about.

When you pitch what your story is about, your focus is sharper.

The best practice for pitching is to pitch any movie in 1 sentence. Every film ever made can be reduced to a 1 sentence logline. If you can pitch your material in just 1 sentence, you’re forced to include only essential information and nothing extraneous. Once you can pitch your script in 1 sentence, then you can later add a few more sentences for detail, color and texture. For more practice, choose 3 films you’ve seen recently and pitch each of them in just 1 sentence.

– Steve Kaire

Steve Kaire is a Screenwriter/Pitchman who’s sold 8 projects to the major studios without representation. The last project he sold, he’s Co-Producing for Walden Media. A screenwriter for over 30 years, he holds a Masters in Dramatic Writing and has taught writing classes at the American Film Institute.
Steve was featured on the Tonight Show’s, “Pitching to America” and was voted a Star Speaker at Screenwriters Expo three years in a row. His top rated CD, “High Concept – How to Create, Pitch & Sell to Hollywood” is a best seller. You can find his website here.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

by Steve Kaire

The easiest genres to sell are in Tier 1. More difficult genres are included in Tier 2. And the most difficult genres are in Tier 3. Writers can improve the chances of selling their scripts if they choose Tier 1 genres. Examples of recent films are given in each genre. Some films fall into more than one genre category.

Tier 1 Genres:

1. ACTION – Action films are the easiest to sell because they are popular in foreign markets since they are not dialogue driven. Examples: “X-Men Origins: Wolverine,” “Terminator Salvation,” “Fast and the Furious 3,” “G.I. Joe,” “Quantum of Solace,” “Transformers,” “Live Free and Die Hard.”

2. ADVENTURE – “Land of the Lost,” “Up,” “Journey to the Center of the Earth,” “Indiana Jones and the Kingdom of the Crystal Skull,” “Chronicles of Narnia: Prince Caspian,” “Pirates of the Caribbean: At World’s End,” “National Treasure: Book of Secrets.”

3. THRILLER: Also known as suspense films. “Angels and Demons,” “Whiteout,” “Taking Of Pelham 1, 2, 3,” “Michael Clayton,” “88 Minutes,” “Disturbia.”

4. COMEDY & ROMANTIC COMEDY – “The Proposal,” “The Ghosts of Girlfriends Past,” “Confessions of a Shopaholic,” “He’s Just Not in To You,” “Yes Man,” “What Happens in Vegas,” “Forgetting Sarah Marshall.”

5. CRIME – “RocknRolla,” “In Bruges,” “The Bank Job,” “Ocean’s Thirteen,” “The Lookout,” “Flashpoint,” “American Gangster.”

Tier 2 Genres:

6. HORROR – “The Happening,” “Quarantine,” “Saw V,” “The Collector,” “Last House on the Left.”

7. FANTASY – “Harry Potter and the Half-Blood Prince,” “Twilight,” “The Mummy: Tomb of the Dragon Emperor,” “Hellboy II: The Golden Army,” “The Golden Compass.”

8. SCIENCE FICTION – “The Day the Earth Stood Still,” “The Incredible Hulk,” “Iron Man,” “Fantasy Four: Rise of the Silver Surfer,” “I am Legend,” “Spider-Man 3.”

Tier 3 Genres:

9. DRAMA – “21,” “Milk,” “Slumdog Millionaire,” “Atonement,” “There Will Be Blood,” “Curious Case of Benjamin Button,” “Sunshine Cleaning.”

10. MUSICALS – “ Fame,” “Mama Mia!,” “High School Musical 3: Senior Year,” “Cadillac Records.”

11. WESTERNS – “3:10 to Yuma,” “Appaloosa,” “The Assassination of Jesse James by the Coward Robert Ford.”

12. PERIOD – “Sense and Sensibility,” “Across the Universe,” “ Becoming Jane,” “The Patriot,” “Jane Eyre.”

– Steve Kaire

Steve Kaire is a Screenwriter/Pitchman who’s sold 8 projects to the major studios without representation. The last project he sold, he’s Co-Producing for Walden Media. A screenwriter for over 30 years, he holds a Masters in Dramatic Writing and has taught writing classes at the American Film Institute.

Steve was featured on the Tonight Show’s, “Pitching to America” and was voted a Star Speaker at Screenwriters Expo three years in a row. His top rated CD, “High Concept – How to Create, Pitch & Sell to Hollywood” is a best seller. You can find his website here.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

by Steve Kaire

The first is your material. When you’re in a pitch session, it’s your ideas and stories which are going to make an impression on the listener. Ask yourself these questions: Is your story unique? Are you approaching it from a different angle than we’ve seen before? In other words, does it have a hook? Producers and agents say that 80% of all material they read has a weak premise. And a weak premise at its core, no matter how well executed, is still a weak premise.

The second category you’re being judged upon is your presentation. How well do you pitch your project and do you conduct yourself in a professional manner? Is your title too generic or confusing? Are you clear on exactly what genre your material is? Is your logline intriguing and succinct?

Producers and agents say that 80% of all material they read has a weak premise.

The final category you’re being judged on is your understanding of how the business actually works. Even if your material and presentation are solid, how easy are you to work with? Are you too rigid to make changes that are asked of you? Are your expectations about money and credits within the standard parameters of the industry? And are you making unrealistic demands including wanting to direct or star in your script? If so, all your doing is sabotaging your career.

All of these areas are covered in depth on my High Concept CD for the cost of a pair of movie tickets. Information is power, arm yourself.

– Steve Kaire

Steve Kaire is a Screenwriter/Pitchman who’s sold 8 projects to the major studios without representation. The last project he sold, he’s Co-Producing for Walden Media. A screenwriter for over 30 years, he holds a Masters in Dramatic Writing and has taught writing classes at the American Film Institute.
Steve was featured on the Tonight Show’s, “Pitching to America” and was voted a Star Speaker at Screenwriters Expo three years in a row. His top rated CD, “High Concept – How to Create, Pitch & Sell to Hollywood” is a best seller. You can find his website here.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

:: Curiosity and the Kill.
:: Eric Heisserer’s Writing Advice

:: Why Producers Will Not Read Your Script
:: My thoughts on “Why Producers Will Not Read Your Script”
:: Eric Heisserer Talks TV pitches… with a Side of Scotch.

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:: New TV initiative between FOX and the Black List
_______________________________

With thanks to Cameron Pattison.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

by Steve Kaire

Is it time to get an agent or manager? Should you try to get meetings with studio executives? Should you send out your scripts to production companies? Or is participating in pitch festivals in order to get your material read by industry insiders the way to go?

If you are early in your writing career, I would not recommend you seek an agent or manager at this time. I would fine hone my writing skills several more years before trying to acquire literary representation. I would get my hands on as many produced screenplays as possible and read them.

Decipher why some scripts work and why others don’t. I was an unpaid reader for 2 companies when I started out which enabled me to read over fifty film and television scripts.

If you are early in your writing career, I would not recommend you seek an agent or manager at this time.

I would not approach studio executives for the same reason. You don’t want to waste your best shots when your material is not ready. You have only one chance with any particular person or company. You want to approach them when your material is as good as it’s ever going to be.

I would recommend writers send out their material to production companies that have produced the kinds of movies that you’ve written. Don’t mail out your query letter to just any company. Do your homework and target companies whose credits are the same genre and budget that you’ve written.

Do your homework and target companies.

I would also suggest that writers participate in pitch festivals in order to reach lots of production companies in a single forum. This venue will also test and improve your pitching skills as well.

– Steve Kaire

Steve Kaire is a Screenwriter/Pitchman who’s sold 8 projects to the major studios without representation. The last project he sold, he’s Co-Producing for Walden Media. A screenwriter for over 30 years, he holds a Masters in Dramatic Writing and has taught writing classes at the American Film Institute.

Steve was featured on the Tonight Show’s, “Pitching to America” and was voted a Star Speaker at Screenwriters Expo three years in a row. His top rated CD, “High Concept – How to Create, Pitch & Sell to Hollywood” is a best seller. You can find his website here.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

:: Webshow: Flashbacks
:: Movie Analysis: “Her”
:: Screenplay Review – The Equalizer
:: ‘True Detective’ Writer Nic Pizzolatto on Great Stories

Script Perfection

:: 12 Fundamentals Of Writing “The Other”
:: The Toughest Scene I Wrote: Scott Neustadter & Michael H. Webber
:: It Takes The Time It Takes

Pitching & Selling

:: How the Producers of ‘Dallas Buyers Club’…
:: 10 Ways To Make A Good Impression As A Writer
:: Unfilmables
:: A Field Guide To Meetings

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:: An Interview With Breaking Bad Writer Moira Walley-Beckett
_______________________________

With thanks to Cameron Pattison.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

by Trevor Mayes

Why all the profanity?

Because I got to listen to one of my favorite columnists — Manny Fonseca — who’s known for his foul-mouthed, yet brutally honest and insightful articles for The Business of Show Institute newsletter. I highly recommend subscribing to the free weekly newsletter if you haven’t already.

When not swearing up a blue streak, Manny is a development executive for Kopelson Entertainment (The Devil’s Advocate, U.S. Marshals), where he’s always on the lookout for the next big script.

A Rogues Gallery of Pitchers

His talk at the InkTip Sessions on Saturday revolved around what NOT to do when pitching your script. As a veteran of many pitch fests, Manny’s seen it all. Here are some of the “types” that he and other execs hope to never see again:

The A La Cart

This pitcher gets to the table and plops down his list of scripts, then asks Manny to pick the one he likes. If you’ve got a bunch of scripts, not all of them are going to be suitable (Hint: “No Christmas Movies!”). Just do your homework and pitch the one you think is best for his company.

The Marketeer

This is the guy who comes to the table and starts talking about how the movie should be marketed. Everything from the actors who should be cast, to the tagline on the poster. This guy’s never had a movie produced, but he’s going to tell Manny how to do his job? Really?

The Show and No Tell

At the last pitch fest I went to there was this duo at a table who had a flip-chart that seemed to show every weapon under the sun. The exec at the table didn’t know what to do with these guys. They sure knew their weapons, but their ponderous presentation distracted from the script itself. Just stick to selling your script with words. If you can’t do it at the table, how are you going to present it to a room of producers, studio execs, etc.? Same goes for homemade trailers of your script.

Just do your homework and pitch the one you think is best for his company.

The Repped Writer

You have an agent or manager? What the hell are you doing at a pitch fest? Odds are if you’re at a pitch fest, then you’re not really represented. You might be “hip-pocketed” but you’re not an actual client. Hip-pocketing means that the rep will be happy to take a commission for your script if the right buyer comes along, but you’re not on their official roster of clients whose careers they’re actively working to build. Odds are, if you mention that you’re repped, you don’t know the difference. And that’s a big red flag.

The “I got Drew Barrymore”/”I got James Franco”

(He gets those two a lot.) First of all, just because you had a conversation with an actor once, and they expressed a polite interest in your idea, doesn’t mean they’re interested enough to actually star in your movie. Even worse, any mentions of actors being attached are met with high levels of skepticism. Don’t say you’ve got someone attached if you don’t. Manny will just call the actor to verify. Yeah, he can do that. And does.

The Contest Finalist

Some people spend most of their time entering contests. Every. Single. One. Think you’re more enticing to Manny just because you’ve placed in the finals of the Spuzzum Film Festival? Think again. There are only a handful of script competitions that producers, managers and agents get excited about. And unless you’ve won one of those contests, it’s not worth mentioning. In my opinion, The Nicholl Fellowship might be the only one where a semi-finalist standing carries some weight — but even then, Manny’s probably not interested.

Any mentions of actors being attached are met with high levels of skepticism

The Too Many Scripts Guy

Writing a great script is a lot of hard work. Writing dozens of great scripts is a lifetime of hard work. If you tell Manny you’ve written 50 scripts, that doesn’t impress him. It just tells him that you don’t rewrite. Almost every great writer will tell you that writing is rewriting. If you’re simply cranking out script after script, without much thought to revision, you may lack the discipline or habits required to make it as a screenwriter. And your scripts are probably terrible.

The “Have Some Traction” Guy

This is the guy who tells you that he already has traction with Producer A or Director B. That’s great — so why aren’t you making the movie with them? If these other people are so keen, then why are you coming to Manny? Keep your tenuous connections to yourself and just pitch your movie.

The Used Car Salesman

One of the best pieces of advice when pitching your script is to “just be normal.” Easier said than done of course. But you definitely don’t want to come across as a used car salesman. You know the type. They come to a pitch fest with their snappy speech patterns and rehearsed lines. Don’t do that. Just have a normal conversation with the person you’re pitching to that showcases your passion for your script.

Keep your tenuous connections to yourself and just pitch your movie.

Other Useful Pitching Tips

Don’t be nervous

You’re probably pitching to an intern. You probably make more than they do.

Don’t tell them it’s your 8th draft

It may be the 2nd or 10th draft of your script, but the producer, director, manager, agent doesn’t need to know that. It needs to feel like it’s hot off the presses, like no one else in town has read your script. Being first to read a potentially brilliant script is cool. Trudging through a script that’s been circulating through the fringes of Hollywood for years — not so much.

Don’t follow-up about your script

If someone has asked to read your script, there’s no need to follow-up. If they like it/love it, they’ll get back in touch with you. If they haven’t had a chance to read your script yet, you may risk irritating them by getting in touch with them. You don’t know what’s been happening in their lives… whether their mother just died, or whether they’ve been on vacation for a month.

—

Did you fall into any of the categories above?

-Trevor Mayes

Trevor Mayes is a screenwriter, script consultant, and cat whisperer who absolutely loves movies.

Through his website Scriptwrecked he has helped dozens of screenwriters, at all levels, improve their craft.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

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:: Five Days of ‘Her’: How to Shoot the Future
:: ‘Mad Men’ Creator Matthew Weiner Explains How He Created Don Draper
:: Screenplay Review – American Bullshit (American Hustle)

Script Perfection

:: Scriptnotes, 123: Scriptnotes Holiday Spectacular
:: The Only Way Out Is Through
:: LA Screenwriter’s 15 Best Posts of 2013

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:: Netflix Says Binge Viewing is No ‘House of Cards’
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Best of the Rest

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:: Obama’s TV Picks: Anything Edgy, With Hints of Reality
_______________________________

With thanks to Cameron Pattison.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au