This is the turning point in classically structured screenplays. A screenplay’s major goal is most often found at the end of the FIRST ACT. This is the heart of the dramatic narrative. It is this goal that the entire dramatic story hinges upon. But her major goal is to return to Kansas. She must protect the ruby slippers she must meet the wizard she must retrieve the broomstick of the wicked witch. In THE WIZARD OF OZ, Dorothy has many goals. The character’s major goal is the engine of a screenplay, and it must be present in the logline. For instance, the farm girl heroine in THE WIZARD OF OZ (Dorothy) could be considered “lonely” or “neglected.” These words will resonant with greater significance (like irony) when juxtaposed to her goal (to get back home). The adjective should be accurate in describing who the character is. Use a well-chosen adjective to bring greater clarity to the character like a “liberal” politician or an “angst ridden” teenager. Instead of using a name, use an occupation or life-status like politician or teenager, brain surgeon or homeless man. The one exception would be if the character were a famous person (like George Washington). Character names are meaningless to the reader and can crowd and confuse the logline. When referring to the protagonist in a logline, do not use a character name. For instance, a logline for THE WIZARD OF OZ may read:Īfter a twister transports a lonely Kansas farm girl to a magical land, she sets out on a dangerous journey to find a wizard with the power to send her home. It merely uses these three major story elements to depict the dramatic narrative in an orderly and lucid manner. A logline does not tell the entire story. Sometimes a logline must include a brief set-up.
Crafting a logline takes a great deal of practice and an understanding of basic dramatic structure. More complicated screenplays may need a two sentence logline.Īs simple as this seems, it can be difficult for a writer to extract the center of his story to create a logline. It presents the major throughline of the dramatic narrative without character intricacies and sub-plots.
It’s a lengthy article packed with useful information on constructing loglines, so take the time to read it thoroughly.Ī common tool utilized by both writers and executives is the LOGLINE.Ī logline conveys the dramatic story of a screenplay in the most abbreviated manner possible. Here is more advice by Christopher Lockhart, Story Analyst at William Morris Endeavor Agency.