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When a peaceful political activist meets a mysterious supporter, he resolves to violence to accomplish his goals.
"Point is, you need to build a case for the MC to change so drastically. This is your moral dilemma that causes a dramatic conflict within the character, it needs to be a big deal for the character not just an easy stepping stone along the way to achieving his goal." Yes, this should occur over timeRead more
“Point is, you need to build a case for the MC to change so drastically. This is your moral dilemma that causes a dramatic conflict within the character, it needs to be a big deal for the character not just an easy stepping stone along the way to achieving his goal.” Yes, this should occur over time.
“An Inviolate Rule is implicit in your character?s political m.o. at the start of the story.? That rule is: use non-violent means to obtain political objectives.” I agree, otherwise you have Black Panthers/BLM violent political atrocities that are orchestrated behind the scenes and usually based on emotional conclusions instead of logical ones.
The reverse is ironical. Kinda like an assassin/sniper having to resort to verbal judo to accomplish the task. He is out of his element and it makes for a great challenge. Audiences wants to see the action when “entering a movie”. I mean, in everyday life we use non-violent methods to achieve our goals. In the movies, we get to experience the violent version without the consequences of the actions. It’s way more satisfying that way.
You gonna wait almost 2 hrs for the sniper to shoot the antagonist only to have him talk his way out of the situation peacefully? No thanks.
See lessDisplaced far from her mountain home, a lonely waitress must learn to trust someone as she prepares to flee her increasingly abusive lover.
It seems to me this logline places the cart before the horse in terms of the woman's objective goal.? Her urgent objective goal is to flee her abusive lover.? Not prepare to flee. , Not plan to flee. Not decide to flee. Not wait until she finds someone she can trust to rescue her and then flee.He obRead more
It seems to me this logline places the cart before the horse in terms of the woman’s objective goal.? Her urgent objective goal is to flee her abusive lover.? Not prepare to flee. , Not plan to flee. Not decide to flee. Not wait until she finds someone she can trust to rescue her and then flee.
He objective goal is to flee her abusive lover.? And that is a good basis for a compelling story.
If in the course of fleeing or after fleeing, she finds someone whom she can trust to treat her right– that’s a bonus. But, again,? it’s not an objective goal.? “Learning to trust” refers to her subjective need.
In the script proper the objective goal and the subjective need are interwined and work out such that the character must resolve her subjective need in order to obtain her objective goal.? But in loglines, the focus is on achieving an objective goal,? not about resolving a subjective problem.
To repeat, her objective goal in this situation can be nothing less, nothing other than flee her abusive lover. If she’s waiting to flee until she can find someone to trust, then she’s a weak character, someone who is dependent on others to do what she needs to do for herself.? Now, she can start out from a position of weakness and dependency, hoping to find someone whom she can trust to rescue her.? But she must grow beyond that.
In the course of the story, if she must learn to trust someone, that someone first and foremost must be herself.
fwiw
See lessAfter a string of failed pregnancies and suicide attempts, a skeptical waitress must learn to trust a bizarre construction worker in order to escape her abusive ex-lover and keep the baby she has stolen.
Agree with the others about the lack of a coherent plot. And like, Nir Shelter, I think making her a baby kidnapper is a sympathy killer.? ?Yet I see you have held on to this aspect of the story from your previous interation.? So I gotta ask, why?? Why do you want to write a story about a person whoRead more
Agree with the others about the lack of a coherent plot.
And like, Nir Shelter, I think making her a baby kidnapper is a sympathy killer.? ?Yet I see you have held on to this aspect of the story from your previous interation.? So I gotta ask, why?? Why do you want to write a story about a person who has kidnapped a baby?? What is the itch you are trying to scratch, the theme you wish to explore with it?? Why do you think she will appeal to an audience in spite of her crime?
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