When her brother’s diary mysteriously appears at her doorstep, an art forgery investigator uses it to decipher location of stolen diamonds. She also discovers the truth about her father who masterminded an international heist and embarks on a hunt for the treasure during which she finds her family lost decades ago.

I just noticed this conversation, and would like to add that you can 'vote up' reviews.
This way, you can support what you believe is a valuable contribution from anyone.
(Once a user collects 2,500 points, they can also 'vote down' a review. )

And Rafael, you can give someone the highest kudos by selecting their review as the "Best Review/Best Answer."

;)

Karel

Hi All,
I highly appreciate ALL you comments and suggestions. I'll try to modify and shorten the last version of the Logline. Thank you again. Rafael D.
www.rhdera.com

Hello,

I'm sure that any book can be transformed in a movie.
I think that what you need the most is to make tough decision and focus only on the very main elements. You want to tell too many things that are important to you, but are they important to us, readers?

The limit to 25 words actually HELPS you. To?make tough decision about what to say.

"When she finds her brother's diary, an art forgery investigator?follows the leads to locate?the?diamonds stolen by her father in an?international heist". (25 words)

Usually in the logline you track the external goal (find the treasure) so we can forget the inner goal (truth about the family).

I would ignore dpg, he fairly repetitively asks the same questions, and expects the whole plot of a movie to condense down to under 50 words.
The point of a logline is to hook the reader, you hook a reader by getting them to ask questions, which means being more vague rather than more specific. If I can get the whole movie from 50 words or less, why would I go see the movie?

Not every movie has to have an antagonist, not every movie has external stakes.

If you look at this article -?http://www.scriptmag.com/features/write-logline?- then you'll see the highest rated scripts on the Blacklist have very vague loglines that break most of the rules that dpg talks about.

The one thing, I would say about your logline specifically is to cut it down to a clear, easy to follow sentence.

No antagonist? ?Why not? Why can't there be one? ?Why did you choose not to have one?

Other than that's the way you wrote the book. ? Adapting a book to a feature film almost always requires taking things out, adding things in, reshaping the story. ?They are 2 different mediums and do not always congruently map to each other. What works for a book may not work in a movie. And vice versa.

Not having an antagonist is a potentially serious problem when it comes to marketing the story as a movie. ?Just saying.

And does the diary reveal that the treasure was stolen from her father? ?If so, then the logline should indicate that there is a clear linkage between both.

No antagonist? ?Why not? Why can't there be one? ?Why did you choose not to have one?

Other than that's the way you wrote the book. ? Adapting a book to a feature film almost always requires taking things out, adding things in, reshaping the story. ?They are 2 different mediums and do not always congruently map to each other. What works for a book may not work in a movie. And vice versa.

Not having an antagonist is a potentially serious problem when it comes to marketing the story as a movie. ?Just saying.

And does the diary reveal that the treasure was stolen from her father? ?If so, then the logline should indicate that there is a clear linkage between both.