When an emotionally detached woman returns home after a decade of uncontrollable jumps into parallel universes, she must reconnect with her estranged father to create a cure before vanishing once again.

>>She has to find a place to put the heart.

What about a person? Someone to bond with, to anchor her heart in ?one location?

Yeah, I know she's emotionally detached. ?But could that be a problem with the logline as well as the character? ?There's the possibility for arcing to emotional attachment ?-- but no hint of an arc to another person. ?Just a location?

There's no obvious antagonist. ?I have no problem with that. ?The predicament (flip-flopping in time-space) is good enough for the cause and aggravation of the dramatic problem.

But it seems to me, the logline would benefit by inclusion of another ?character with whom the protagonist is in an emotional relationship. Or wants to be or needs to be.

The obvious go-to relationship character would be a "love interest".
Or maybe?a stakes character (like a child), some one who needs her.
Or an incentive character whom she desperately needs (subjectively) to be united with.

"Inception" comes to mind. ?Cobb's undertakes the inception job to be re-united with his children. ?That's the emotional? draw and payoff for him. ?Not just getting back to his home ?in the U.S. -- but the ?humans in that home, his kids.

My own gut feeling is that getting emotionally detached to a place just isn't compelling enough. ?Rather, the best emotional attachments in drama are to people, not places.

fwiw

>>She has to find a place to put the heart.

What about a person? Someone to bond with, to anchor her heart in ?one location?

Yeah, I know she's emotionally detached. ?But could that be a problem with the logline as well as the character? ?There's the possibility for arcing to emotional attachment ?-- but no hint of an arc to another person. ?Just a location?

There's no obvious antagonist. ?I have no problem with that. ?The predicament (flip-flopping in time-space) is good enough for the cause and aggravation of the dramatic problem.

But it seems to me, the logline would benefit by inclusion of another ?character with whom the protagonist is in an emotional relationship. Or wants to be or needs to be.

The obvious go-to relationship character would be a "love interest".
Or maybe?a stakes character (like a child), some one who needs her.
Or an incentive character whom she desperately needs (subjectively) to be united with.

"Inception" comes to mind. ?Cobb's undertakes the inception job to be re-united with his children. ?That's the emotional? draw and payoff for him. ?Not just getting back to his home ?in the U.S. -- but the ?humans in that home, his kids.

My own gut feeling is that getting emotionally detached to a place just isn't compelling enough. ?Rather, the best emotional attachments in drama are to people, not places.

fwiw

>>>a decade of uncontrollable jumps into parallel universes

I find that a very interesting dramatic framework. ?But to what purpose? ? The movie adaptation of ?"Slaughterhouse Five" comes to mind where the hapless protagonist jumps uncontrollably back and forth in time. ?Which Kurt Vonnegut used to dramatize his absurd and senseless experiences as a POW during World War II.

What's your purpose? ?What's the itch you need to scratch with this concept?