Trish Humphries a self-absorbed news reporter who just moved to New York finally gets her own talk show. She thinks it’s in a big network, but it’s really just public access. Now she has to learn how to work with her new team and balance her open relationship with her three boyfriends while pursuing her dream to be famous.
jlmarevaloLogliner
Trish Humphries a self-absorbed news reporter who just moved to New York finally gets her own talk show. She thinks it’s in a big network, but it’s really just public access. Now she has to learn how to work with her new team and balance her open relationship with her three boyfriends while pursuing her dream to be famous.
Share
TV
Is this for a feature film or for a TV or streaming series?
Agreed with most of the above but must point out that the irony of her landing a gig on a public access network instead of a big commercial one isn’t needed in the logline because it doesn’t relate to the plot.
I would embellish her character flaw by adding arrogant then the humour will be hinted at if you describe that much to her disappointment the gig is on a public access network.
Most importantly cut the love interests sub plots and specify her goal something that ties into the inciting incident of her discovery that the gig is in a public access network. Perhaps she tries to raise the ratings and compete with the local commercial network or something to that effect that she must fight to achieve.
Hope this helps.
Thanks everyone! This is helpful!
I actually like this concept (at least the possibilities)! The logline can be a lot tighter, and as other have mentioned the name should be excluded. The 3 boyfriends element sounds extraneous the way it is written right now in the logline. So something like,
“A self-absorbed reporter lands a big talk show in New York only to discover it is actually for a small public access channel, and must…”
The comedy tone actually comes through to me. But the main storyline is not quite there yet.
The rest of the logline could be somewhat open-ended (“must re-consider her values and goals in order to succeed with her new team”) or better yet something specific related to the plot- is there some big show or deadline, or maybe she has to actually save the public access channel from cancellation?
“A self-absorbed reporter lands a big New York talk show only to discover it is actually for a small public access channel, and must reconsider?her goals and ambitions to help save the channel?from going off the air.” Anyway, something like that…
At 59 words, its too long for a logline. A logline has to be under 50 words and if its under 25 words thats much better.
Unless you are writing a biopic about a public figure, don’t put your character name in the logline. The fact that she has just moved and the MCs perception of big network but actually its public access, and the three boyfriends, are unnecessary. The logline is to hook us, make us want to watch, give us what is unique about your story, give us the tone, genre of the story and the journey we are about to go on.
I can’t work out what is unique about your story, or why I’d want to watch.
Is this for TV or a movie?
Hello,
You can avoid the name of the cahracter (it doesn’t mean nothing and in a logline every word is precious).
I would try to reduce the word count and focus on the inciting event, the?main character’s goal and the opponents.
I give it a try,
“When a self-absorbed news reporter joins a public network, she must deal with her new team?and her three boyfriends to become a successful journalist”.
I don’t understand why you say “it’s just public access”… I think the concept works better in 2 ways:
If she’s a newbie in a big network, or if she’s a veteran/expert in a small network.