A city detective, who’s going through a mid-life crisis, is summoned to a small town where he’ll struggle to catch a serial killer, and where he’ll also face the chance to give his life meaning again.

Loglines are about what a protagonist intentionally strives to do — objective goals.? They are? not? about what he??unintentionally or accidentally discovers along the way that conveniently solves a subjective problem.

One reason this is so is because film is a visual medium.? Every action element of a logline must be capable of being visualized.? The visual for catching the serial killer is obvious.? Either there is a final scene where the detective apprehends the serial murderer or kills him in the process.

But what’s the visual for an internal state of mind, for “giving his life meaning again”?

This is not to say that the script shouldn’t play out a scenario in which the protagonist solves his subjective problem while solving some objective problem.? Protagonists should have a character arc and solving a subjective problem entails a character arc.

But, again, the logline is about the action vector — not the character arc.