When a young woman blissfully in love, climbs the Swiss Alps to meet her boyfriend, she is unexpectedly dumped and must overcome heartbreak to start again.

Excellent point by Richiev!? Often a logline explicitly or implicitly plants a "Chekhov gun".? ? It violates audience expectations not to "fire it" by the 3rd Act.? If climbing the Alps for whatever reason is a key event in the 1st Act, it seems to me it needs development or at least a reminder in the 2nd Act, a payoff in the 3rd.

Excellent point by Richiev!? Often a logline explicitly or implicitly plants a "Chekhov gun".? ? It violates audience expectations not to "fire it" by the 3rd Act.? If climbing the Alps for whatever reason is a key event in the 1st Act, it seems to me it needs development or at least a reminder in the 2nd Act, a payoff in the 3rd.

"One?must never place a loaded rifle on the?stage if it isn't going to go off." --Mr. Sulu-- (Or was it Chekhov?)

You set up your logline with the lead character climbing the Swiss Alps. This is very interesting.

Then you do nothing with it. Once the lead is dumped she simply must overcome her heartbreak.

It is anti-climactic to put the Swiss Alps at the beginning of the story, then not use them in the second act as something the lead must overcome. Especially since it is the "Alps," part of the logline that will hook the reader.