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After they make a wish to kill their parents, a group of teenagers discover they?ve messed with an entity that makes this wish come true.
I think it's better to have a protagonist and also what is the conflict of your story? Is this entity bad or good? because they make a wish and he makes it come true.
I think it’s better to have a protagonist and also what is the conflict of your story? Is this entity bad or good? because they make a wish and he makes it come true.
See less“Five adults must face their past sins when they are forced to deal with the vengeful spirit of a recently deceased woman whom they falsely accused of abuse when she babysat them seventeen years ago.?
Five adults is too many main characters, even for an ensemble, in a? logline for a spec script.? ? Better to narrow it down to 3 max.? Better yet, narrow it down to 1, formulate the logline with one designated protagonist,the alpha character who? influenced the others -- as supporting characters --Read more
Five adults is too many main characters, even for an ensemble, in a? logline for a spec script.? ? Better to narrow it down to 3 max.? Better yet, narrow it down to 1, formulate the logline with one designated protagonist,the alpha character who? influenced the others — as supporting characters — to? participate in the false charge.
>>>why should we pull for the lead character to succeed
In a horror flick do we always have to be pulling for the lead character, the protagonist.? Horror stories often entail the notion of dramatic retribution, unpoetic justice –? what the protagonist has coming to him because of his character flaw, because of his dramatic sins.? Can we be pulling for him to get the justice he richly deserves — but has been able to avoid?? IOW:? horror as a tragedy.
fwiw
See less?Massachusetts, 1692: The leader of a coven must convince a Puritan minister to work with her to find and stop a powerful and cunning excommunicated sorceress whom she suspects is secretly behind the Salem Witch Trials.?
Dho1115:Well.? Based on your comments, there are a number of issues I think you need to sort out.? First,? I suggest you have to decide who your protagonist is, the leader of the coven, or the refugee from the Puritan community?? If it's the latter, then the logline needs to re-framed around her.NowRead more
Dho1115:
Well.? Based on your comments, there are a number of issues I think you need to sort out.? First,? I suggest you have to decide who your protagonist is, the leader of the coven, or the refugee from the Puritan community?? If it’s the latter, then the logline needs to re-framed around her.
Now? then, about your original logline which tags the leader as the protagonist.? What is her objective goal?? Taking it at face value, the logline? says that her objective goal is to persuade the minister to work with her.? Is that what the entire 2nd Act is taken up with — her arguing, pleading with, cajoling the minister into cooperating?
Or is her objective goal to find and decommission the sorceress?? And getting the minister to cooperate as an ally is a means to that end?
I assume her objective goal is to find and decommission the sorceress.? Therefore, the logline should cut out the middle man , the minister, and? cut to the chase, focus on the sorceress.
fwiw
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