ALICE ASHTON 2 ?(USCO # TXu 1-805-195 – WGAW #1566261)
A dynamic young woman (witness and rescuer) and a reporter of the National Geographic (safe passenger) meet on the scene of a train crash. Over the course of seven days, while the disaster consequences fade and despite the increasing hostility of her father, they grow closer up to a bond; then a lasting union while her father will be won over under pressure from her maid and confidante.
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It seems to me that the story boils down to a romance: A man and woman “accidentally” meet and fall in love despite opposition from her father.
Hello Jean, I am reading this attempt and see where you are going. First I would recommend that you would try to say the same thing but with less words in order to cut the word count down, It is a bit long.
Second, your line at the end:
“while her father will be won over under pressure from her maid and confidante.”
This sounds like the ending. I wouldn’t give away the end of the movie during a logline.
While you could say they “struggle to win the approval of her father,” I would let the audience find out if they succeed or not while watching the movie rather than reading the logline.
Hope that helped, good luck with this!
>> I wouldn?t give away the end of the movie during a logline
Important point. Describe the main struggle — but never tip your hand with how it ends.
Thanks Rirchiev,
You’re right too dpg, thanks
This is much better. I’ll take it!
And yes dpg, it is a romance!
just one selected from among the best which had yet to be written.
Is it better like that ?
A dynamic young woman (witness and rescuer) and a reporter of the National Geographic (safe passenger) meet on the scene of a train crash. Over the course of seven days, as the disaster consequences fade, they grow closer up to a bond then a lasting union while her maid and confidante struggles to overcome the increasing hostility of her father.
Jean-Marie:
Alas, it is still too long. There is still too much detail for a logline.
What is the essence of your story? What is the MOST interesting aspect? What sets your romance apart from the (literally) hundreds of other romantic stories competing to get made into a movie?
Thanks dpg,
You’re right again. The best is less than 250 characters.and 50 words
What do you think about this please ?
“A dynamic young rescuer woman meets a world known reporter on a train crash scene. Next days, as the disaster issue fades, they grow closer up to a bond then a lasting union while her maid struggles to overcome the increasing hostility of her father”
(249 characters, 45 words)
And about this please ?
“Due to a train crash, Alice and Phil meet and fall in love; Benjamin discourages them, Zelda encourages: three people challenge each other resulting in new lives for all of them with the help of the fourth”
(205 characters, 37 words)
Hi Jean-Marie,
I know I’m only now jumping onto this thread — but thought I’d add my two cents.
You should aim to get your logline down to 25-30 words…max. Also — names aren’t important and distract from expressing what your film/ story is actually about, unless the film is about actual historical or living people. Instead of names the logline should be telling us WHO your players are, by way of sex, age, role in society, or relationship to each other. I am sensing that you wish to make the logline INTRIGUING, and so a reader of the logline will want to know more… but at the moment it is just confusing and my initial reaction would not be to want to know more, but that the film will be confusing and not well structured.
I’d strongly suggest following dpg’s advice and try to simply state the MAIN POINT of the story. Don’t worry about making it intriguing…yet. From what you have said in your commentary this is essentially a love story (?) — so, with this in mind, as is the case with most love stories, give us the context of the love story and what is the thing/ person that stands in the way of that love. At the moment this is what I glean from the logline:
A young woman rescues a world famous journalist from a train crash and they fall in love. The young woman’s maid tries to encourage the budding relationship, but the maid’s father (or is it the young woman’s father) stands in the way…???… Again, this is just the way I’m reading it — and to be brutally honest there doesn’t seem to be much drama there. It would be better if it is clearly stated how the Father stands in the way of the relationship… he sounds like the antagonist to the love..?
Anyway, good luck with it.
Oh — and WHEN is it set?
Thanks Tony Edward,
Your answer worth at least $10! 😉
– This is the reply to an old question of a precedent post
– I didn?t see the confusion of kinship in the last versions
Does not resolve my problem:
If it is too long, we don’t feel like reading it, if it is too short, we don’t feel like reading the rest.
This is exactly like the replies when we read all these posts too fast:
– When it’s more than twenty lines, we go to the next without reading it,
– when it’s one line, we understand nothing without having read the foregoing
My English is not good enough to tell with 30 words what I am able to tell with 70.
The first version (68 words, top of the post) gives what you suggest but it is too long:
– Who the players are, their sex, age, role in society and relationship, the dramatic context and its evolution, the conflict and its resolution.
The second (60 words) is better: give the same but not the conflict resolution , but it is too long and there is a kinship confusion (not too hard to solve)
The last (37 words) give the dramatic context, four intriguing names and their basic relationship, and the main point of the story.
But it is too long, and the reader?s reaction is confusion and reject.
This is a challenge I?m not able to win now. With less of 30 words, I can just tell:
This is an original love story between two people, a third don?t likes this, a fourth likes this and helps the lovers?
(22 words but not terrific isn’t it ?) 🙁
It would be funnier if it were a love story between three or four people and their jealous pets…
I need to work more! 😉
While I’m working, would you like to tell what story it relates to and what you think of these other loglines ? 🙂
“Four strangers in life find a bond in death”
“(9 words)”
“A bogus spiritualist and an amateur actor hope to con a wealthy woman out of $10,000 by locating her sole heir ? a nephew given up for adoption under shady circumstances ? but find they are in deep water as the nephew turns out to be a kidnapper who?d rather not be found”
(51 words)
“A family man struggles to escape small town America for a more successful life in the big city. When his constant efforts fail, he contemplates suicide but his guardian angel visits
and the man experiences what the world would be like if he had never been born”
(47words)
I feel for you. A very challenging game we play…;) — especially given English may not be your first language….
The fact that people are offering their critiques means there’s something there… I think, anyway. Even though it can drive you crazy, it forces you too look at the most important part of the film, and answers the question — why should this film exist?
As dpg originally posted, this sound’s like a romance where the Father stands in the way of the lovers. For this to work — and just in my opinion, the young woman would have to be on the younger side, and or, come from a culture where her Father could stand in the way of the courtship, and or, is set in a period where domineering Father’s get a say in their daughter’s boyfriends… I don’t know, I could be wrong. But regardless, taking that the Father stands in the way of the relationship, who do we have come to the rescue? The young woman’s maid. SHE seems to be the proactive character here… She somehow convinces the Father to let his daughter see/ marry/ ra-ra-ra/ snog/ ra-ra-ra the National Geographic Journo. I don’t know if you have completed this screenplay or not, but if you haven’t maybe have a play with making the maid the protagonist…? Again, I don’t mean to mess with your film, but it feels like she (the maid) comes out of nowhere… what is HER motivation to see the two lovers together? And what does she set about to do to convince/ sway the Father? I think if you answer these questions this will take you closer to the spine of your story… and for me, even though you’ve got a killer inciting incident with the train wreck, it’s all about the maid…
Anyway — good luck. I do like the sound of a budding relationship from a train wreck (especially if one or both lovers have come from/ are in train wrecks of relationships…;) )
And for what it’s worth, I think loglines are always better when around the 20 – 30 word count. Maybe have a look on the web for some loglines of famous films, especially ones in the genre you are writing in. This site also has ‘Classic’s’ section — find the ones that you like and count the words…
Thanks for the $10, it’ll be money well spent… and the jealous pet thing… might be something in that..;)
Best of luck.
Thanks Tony
Don?t worry and don?t feel guilty. You don?t drive me crazy: I already am. 😉
I give you $10 more to apologize.
Alice is the only daughter of a very strong and domineering widower, and Zelda (the maid), is like a mother figure for Alice in their all minds.
These are some of many major details of the story. This draft is a winner of the 2012 Screenplay Festival and two producers are interested. That?s why I need a decent logline very quicly.
Here is an extract of a dialogue between Phil and Alice :
INT. ALICE?S CAR – DAY
PHIL
Do you work at the ranch?
ALICE
Part time. I help out with routine chores like any other employee. Daddy won?t let me do any kind of management or offer any idea.
PHIL
That?s too bad. You have a talent for this. Have you ever thought of getting married?
ALICE
Not in a long time. Daddy has always managed to get in the way of anything serious. He wouldn?t let me go to college either.
In return, he spoils me as much as he can. That?s why I have my library, allowance, the freedom to do whatever I want with the club.
I finally accept my comfortable life and relax in my gilded prison.
(silence) …
ALICE
(humbly)
This is not really better than what I said about my friends. I’m not as strong as what I’m trying to show in fact.
PHIL
You are a strong character dominated by another still louder and you try to bring to others part of what missed to you. There is nothing negative in that. You?ll find your freedom when you choose your own way.?
I’m cooking something new for this damn logline. I’ll put it there a little later.
Jean-Marie,
I appreciate your struggle as I am also wrestling to compose pithy loglines for 2 scripts under construction.
What follows may only confuse matters. Anyway, here is my take:
A logline is supposed to answer 4 questions:
1] Who is the main character? (The Protagonist)
2] What does she want? (The Objective Goal)
3] Who stands in the way? (The Antagonist)
4] What does she stand to lose if she fails to get what she wants? (The Stakes)
Question 1]: Reading your logline, I am not sure what the answer is to the first question. I’m guessing the main character is the woman, but I’m not sure.
So, who is your main character? The woman or the man? Or both?
(Yes, in romances you can have 2 main characters. The title of the greatest love story by the greatest dramatist in the English language, Shakespeare, is: “Romeo AND Juliet”.)
Question 2]: Assuming it is the woman, what does she want? Well, she wants love, a loving relationship with the man. Fine, that is a worthy goal, of course. But the problem with that is that is a subjective goal — not an objective goal. And in a logline the goal at issue is the objective goal.
This gets into a complicated area of character motivations and dramatic devices. What distinguishes a subjective goal from an objective goal and why does the distinction matter? Can’t they be the same?
Let me leave the question dangling for a moment.
Question 3]: Your logline identifies her father as the the one who stands in the way of her goal. Good.
Question 4]: But what’s at stake? What is she fighting for and WHY? What does she stand to lose if she fails? Your logline doesn’t say.
Well, the obvious answer is: what’s at stake is love.
Now back to Question 2] What is her objective goal?
Which is to say in the romantic genre, HOW is she fighting for love?
Consider the wonderful French movie “Amour”. After Anne suffers a stroke, George’s OBJECTIVE GOAL is to nurse his wife Anne himself to keep her out of institutional care. The STAKES are her life, of course. But there is more at stake (since we all die eventually).
What is ultimately at stake is George’s SUBJECTIVE GOAL, his enduring love for his wife. So the OBJECTIVE GOAL– nursing her himself — is “HOW” he struggles for his SUBJECTIVE GOAL — love.
And that OBJECTIVE GOAL/ SUBJECTIVE GOAL — GOAL/STAKES relationship is what I am looking for in your logline.
One man’s very confusing opinion. But there it is.
Thanks dpg,
This is very helpful because it decomposes the problem in simple and specific tidy things, easily definable and quantifiable.
I already have the main answers but I reflect a little to clarify some points and add some others.
I reply in a short while.
Hi Tony,
Hi dpg,
Hi RichieV,
Back to basics, a saying with 30 words:
“After she met the man of her life, a young dynamic orphan woman struggle to overcome the tyranny of her domineering widower father with the help of her substitute mother”
The same with 27 words to please Allen Palmer:
“After she met the man of her life, a young woman struggle to overcome the tyranny of her domineering father with the help of her substitute mother”
Hi dpg,
All I needed is in your answer.
But as I cannot prevent myself from wanting the last word (please excuse me 🙂 ):
Love cannot be the subjective goal I think, as love is never a goal but ever a cause. It answers to the question “why,” not to the question “what”.
I think that his subjective goal is “feel happier doing what his love calls for”
Nice work — leaps and bounds from the original. I’d go the Allen Palmer version, and personally, would only change a couple of things..
‘After she meets the love of her life, a young woman struggles to overcome her domineering father with the help of her something/ maid’
…but this is just my personal taste… Your revised logline gives us the spine of the story… but I’m still most intrigued by the maid…. which is cool. 😉
But one parting question — when and where is it set?
Continued success and happy writings 🙂
Yes, much better. To the point.
I’m good with either version of your revised logline as tweeked:
“After meeting the man of her life, a young woman must struggle to overcome the opposition of her domineering widower father with the help of her stepmother.” (27 words)
Having established the fundamental conflict and goal, I’m not sure it’s necessary to introduce the stepmother (as we call them in English) in the logline. So:
“After meeting the man of her life, a young woman must struggle to overcome the opposition of her domineering widower father.” (21) words.
A maid as the ally instead of an adopted mother? I might flip a coin on that one. Although I lean toward the step mother. It seems to me that would introduce more interesting family dynamics and conflicts.
Now that the logline focuses more narrowly on the opposing parties, daughter versus domineering father, an ironic subplot occurs to me: could her ally be a family friend/neighbor widow who in the process of trying to get her father to agree to the marriage, causes the father to fall in love with her?
Just a thought — it’s your story, Jean-Marie — and beyond the scope of the logline. What really matters is that your revised logline now stimulates my imagination as the earlier version did not. So even if you don’t like my idea, it is always a good sign (to me) when a logline gets me brainstorming.
Best wishes with your script.
Thank you very much Guys,
It seems that I hold the right track
I cannot put any stepmother in my story because the real mother of Alice is also a major character of this story as she is well living in the hearts of Alice, her father Benjamin and Zelda, and as she is the spirit of this home.
Here is a part of a dialogue between Alice and Phil. It explains why Zelda is also a major character of this story:
—
“EXT. COUNTRYSIDE DAY
Alice and Phil on foot, each holding his own horse, in front of a gravestone on which is written ALINE ASHTON-ROS. Alice places a flower on the grave.
PHIL
Aline is not a common first name.
ALICE
Mom was French. She came to the States to complete her English degree. She never left.
Pause…
ALICE
Mom died when I was nine. I saw her suffering for three years, when I began to understand what suffering is. Zelda arrived at that time.
She took care of Mom until her death. She pampered and cherished her until the last day. Dad was lost. He just didn?t know what to do…
This is the time when I lost faith.
Anyway, it had never been something really solid. It was a faith I had been taught, with its stories and rituals, lots of funny things for a curious little girl…
It could not match this suffering.
I had no theory about the existence or nonexistence of God. However, religious discourse had become unbearable to me.”
—
As I said on an other post, the logline is the last thing I write in a screenplay. My story is complete and currently proofread by an american professional translator, and I must give my logline tomorow to two producers.
If I manage to sell it, many things will need to be rewritten to please the producer, the director, …work for 2 years.
… Maybe I’ll can introduce a neighboring owner widow who would appeal to Benjamin and he might marry (his obsession is to marry Alice to a nearby ranch owner to enlarge the property).
This story takes place today, during indian summer, somewhere in the north of the USA between Seattle and Chicago: Montana, North or South Dakota, Minnesota .
I’m cooking an other story for Hollywood. I currently write the treatment. maybe i’ll put a provisional logline on Logline.It in a few days to gather some feedback.
Hi guys,
The logline is sent.
I don’t forget the jealous pets. I think I could write something funny with this.
Hi Guys,
Here are the replies for these three loglines:
Four strangers in life find a bond in death?
= “DEMAIN JE ME TUE” (Pierre Chance) Winner of the 2013 Bluecat Screenplay Competition
A bogus spiritualist and an amateur actor hope to con a wealthy woman out of $10,000 by locating her sole heir ? a nephew given up for adoption under shady circumstances ? but find they are in deep water as the nephew turns out to be a kidnapper who?d rather not be found?
= “FAMILY PLOT” (Alfred Hitchcock) 1976
A family man struggles to escape small town America for a more successful life in the big city. When his constant efforts fail, he contemplates suicide but his guardian angel visits
and the man experiences what the world would be like if he had never been born?
= “IT?S A WONDERFUL LIFE” (Frank Capra) 1946
A Jean-Marie,
hmmm… Am I smelling the sweet smell of subterfuge?
Just for what it’s worth — When I give feedback in regards to loglines posted on this site I’m giving it with a mind that the writers of the loglines are not established screenwriters. There’s a huge difference between what established screenwriters and what up and comers trying to break in to the industry can get away with. The two groups use loglines in very different ways. The first group (the Established) don’t have to rely upon their logline to get their screenplays read by a Producer/ Agent/ Production Company etc (in most cases, anyway…), and are mainly used to develop the story and or for marketing purposes (and in the latter cases, may not actually have a lot to do with the development of the logline…) — not so with the second group (The Up and Comers…i.e most of us folks using this site…) — yes for story development and marketing — but I’d say mainly to get their screenplay actually read by someone with influence to get their film made. For this purpose I’d say it would be of huge benefit to ensure the logline is as well structured as possible (or — as succinct as possible…) — as the logline not only represents your film, but is also representing you as a professional talented screenwriter (the Up and Comers have no proven track record as yet…) A poorly structured logline is a dead giveaway that the author is not a professional — You might have a killer hook — but if the logline is clumsy, is someone going to want to bet the value of their house on your abilities to write a killer script? I doubt it. This of course is just my humble opinion.
Some Fun Facts:
‘It’s a Wonderful Life – (Frank Capra) – 1946″ — His 46th produced film.
Family Plot? (Alfred Hitchcock) – 1976″ — His 59th and last produced film.
DEMAIN JE ME TUE? (Pierre Chance) Winner of the 2013 Bluecat Screenplay Competition — A logline does not gain you entry into film competitions (as far as I know) — you just need to pay the admission fee which ensures your screenplay will be at least read. 😉
Anyways — hope you understand where I’m coming from.
Much continued success and best wishes.
Hi Tony Edward,
There is no trick behind this. I just posted these three loglines to give you a little fun. 🙂
About DEMAIN JE ME TUE (Pierre Chance) : Four strangers in life find a bond in death?
I don’t find it good because it tells nothing about the plot. It could apply to anything resulting in four dead people or more (war, crash, hold-up,…). Pierre Chance would not won if he was judged on this logline I think.
By cons, I think that it’s a great tagline
You’re wright about screenplay contests and this is just what I wanted to reveal :
As a non establish screenwriter, if you want that people of the art read your story, you don’t need any logline, you need to enter contests.
There is logline contests:
– Three Lines or Less ( http://tlljournal.com/ ) – monthly
– an other one I don’t remember the name. Something like “less of 25 words”
The provisional logline of the other story I’m currently cooking “Who scanned XX?” (WGAW # 1642374 ? USCO case # 1-911996921) was a finalist of the march 2013 TLL contest.
I tried to rewrite the logline of “FAMILY PLOT” with less of 30 words. Here is the result (28 words) :
“Two misfits hope to wangle $10,000 by locating a wealthy woman?s sole heir but find themselves in deep water, discovering he?s a kidnapper who?d rather not be found”
I agree with you on DEMAIN JE ME TUE — If I was a Reader and saw this logline I would not want to know more, and if someone posted it on here I’m sure it would get a fair amount of criticism…
I’d be interested to know if it’s on the way to being produced (?) — as from what I know on competitions the chances of this happening are not actually that high. You are obviously an exception though, as your screenplay has had some success in a competition and you have some wheels in motion — gives me some hope for myself on that front as I had pretty much discounted competitions.
For me, a logline would be used to send to Agents and Prod Co’s that accept unsolicited query’s — If they dig it then usually the next step is you get to send a synopsis, and only after that do you have a shot at getting a screenplay read (most won’t accept full scripts unsolicited — the ‘gold rush’ days of spec scripts sounds like it’s long gone…) — again, I’m definitely in the ‘Up and Coming’ basket — having not produced so much as a short — but here’s hoping one day…;)
Lastly — I’m not one for logline contests — it’s one of the best things about this site IMO — everyone is here (most of the time, anyway) to help each other out as opposed to compete.
Many kind regards 🙂
Thanks Tony,
For now, I have no feedback from people who have asked me for my logline (3 producers and one director).
Maybe hoping to see Alice Ashton on screen increased from 1 chance in 10,000 to 1 in 100 chance?
Wait and see …
Reading what I wrote above, I see a lot of mistakes (grammar, seppling,…) I apologize!
Hi Tony,
I think that “DEMAIN JE ME TUE” is a good story. What I know about it is that it is inpired from a real story of collective suicide in Japan, several years ago. BLuecat is one of the most serious contests.
I don’t know if it is on the way to be produced.
About me, I have no feedback for now from people who have asked me for my logline (3 producers and one director).
Maybe hoping to see Alice Ashton on screen increased from 1 chance in 10.000 to 1 in 500 chance?
Wait and see …
Do you subscribe to feedback when you enter a contest ?
I do, and it helped me to improve this story. I started in March 2012 and I rewrote a lot of things before entering Screenplay Festival in May. Alice Ashton entered five contests last year ( Page, Nicholl, Cynosure SF and Bluecat). An other good help was the feedback from my proofreader translator.
And also, if your first reader is interested by your story, it is a good luck.
Since then, I still have rewritten a lot. If I had no response about my logline, i’ll enter some more contests this summer (Bluecat + others)
Reading what I wrote in the spots above, I see a lot of mistakes (grammar, spelling,…) I apologize!
Kind regards.