After the extinction of women and the destruction of the moon, an imaginative young man realizes that his sexuality is the one thing that may keep him alive.

I think my big problem is that I need to restructure the story (luckily I haven't actually started writing it yet). That's something I've struggled with a lot. I tried a lot of different permutations, trying to decide where certain events should go and what should be added/removed compared to the book version. I think I need to rethink it so that the queen appears on Earth closer to the beginning. That's the root of my problem.

Right now, my inciting incident is the death of the mother and a call for the main character to move on with his life, fall in love, etc., and the act 1 break was the moon cracking, leading into the fallout, the arrival of the queen, and so on. I did that to avoid having a flashback to the mother's death later in the movie (just have it come first instead). But maybe I SHOULD flash back or...just leave out that scene, which pains me to do, but maybe it's necessary.

Thanks to both of you for helping me confirm that my structure and focus were still off!

Now I need to make some decisions about linearity, flashbacks (which I know we should generally avoid), and turning points. I feel like the logline usually comes first, but considering the nature of this story and the problems I've had, I think I need to work backward or, rather, work on the logline and the structure in tandem.

What Tony Edward said.

A logline shouldn't give away the ending, but it has to be "on the nose" in the sense of describing what the story is about in terms of the inciting incident and consequently the external struggle for an objective goal. (Objective being defined as an object [example:treasure chest full of gold], destination [example:Tasmania] or event [example: crossing the finish line first] that can be visualized on screen.)

Internal struggles, of course, enrich the characters and the story, but that's what actors are paid to do, bring out the subtext in the text. The logline's job is to bait attention, get people to read the script.

What Tony Edward said.

A logline shouldn't give away the ending, but it has to be "on the nose" in the sense of describing what the story is about in terms of the inciting incident and consequently the external struggle for an objective goal. (Objective being defined as an object [example:treasure chest full of gold], destination [example:Tasmania] or event [example: crossing the finish line first] that can be visualized on screen.)

Internal struggles, of course, enrich the characters and the story, but that's what actors are paid to do, bring out the subtext in the text. The logline's job is to bait attention, get people to read the script.