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When down-to-earth Nadya parts ways with her frivolous sister, following their mother's death, she resigns herself to a life of toil and loneliness. So when love comes to her unexpectedly, even amidst the chaos of the Russian revolution, she takes hold of it with both hands. But can her newfound romance survive his lingering infatuation with a long-lost beauty destined to resurface?
I read this book in high school and thought that it had every bit as much potential as Jane Austen's works to be made into a moving period drama. This was the first story I ever really wanted to write a screenplay for. Every time I read the book I still feel anxious for the outcome. The characters aRead more
I read this book in high school and thought that it had every bit as much potential as Jane Austen’s works to be made into a moving period drama. This was the first story I ever really wanted to write a screenplay for. Every time I read the book I still feel anxious for the outcome.
The characters are key. Although it is difficult to solidify in a logline, the female lead is a strong woman who makes difficult decisions based on her convictions. And I don’t consider the rival to be the antagonist, it is more the notion of love at first sight (infatuation), which is her greatest adversary. Her romantic interest is almost an anti-hero in that he is deeply flawed and, at first, almost repulsive, but his evolution throughout the story wins you over so that in the end you are rooting for them to end up together. What more can you ask for in a romantic drama?
See lessWhen down-to-earth Nadya parts ways with her frivolous sister, following their mother's death, she resigns herself to a life of toil and loneliness. So when love comes to her unexpectedly, even amidst the chaos of the Russian revolution, she takes hold of it with both hands. But can her newfound romance survive his lingering infatuation with a long-lost beauty destined to resurface?
While I can appreciate your view, I think your approach would create a perfectly generic logline. The more flowery language is a reflection of the period drama genre. I will take this under advisement though and try to reign it in. As to generating a more powerful and frightening antagonist, I can oRead more
While I can appreciate your view, I think your approach would create a perfectly generic logline. The more flowery language is a reflection of the period drama genre. I will take this under advisement though and try to reign it in.
As to generating a more powerful and frightening antagonist, I can only wonder, is there no longer a place in film for the period romance, with the focus being the character’s emotional journey, rather than some epic struggle between good and evil?
Would you suggest to Jane Austen that she replace Wickham with the entire British militia? Or Mr. Collins with the Church of England? Or Lady Katherine De Bourgh with the Queen of England?
The heart of the story is the MC and the heartbreak cause by the frivolousness of meaningless infatuation. The Revolution, much as in Anna Karinena, is only a backdrop.
What kind of logline could you expect for a story say like Sense and Sensibility? Such a complex story involving many characters, and no real antagonist does not easily condense into just a few sentences.
Lastly, I am perfecting this logline for a finished screenplay which made second round at Austin Film Festival, with the intention of including it in a query letter. Thank you again for taking the time to help me with this.
See lessWhen down-to-earth Nadya parts ways with her frivolous sister, following their mother's death, she resigns herself to a life of toil and loneliness. So when love comes to her unexpectedly, even amidst the chaos of the Russian revolution, she takes hold of it with both hands. But can her newfound romance survive his lingering infatuation with a long-lost beauty destined to resurface?
While I can appreciate your view, I think your approach would create a perfectly generic logline. The more flowery language is a reflection of the period drama genre. I will take this under advisement though and try to reign it in. As to generating a more powerful and frightening antagonist, I can oRead more
While I can appreciate your view, I think your approach would create a perfectly generic logline. The more flowery language is a reflection of the period drama genre. I will take this under advisement though and try to reign it in.
As to generating a more powerful and frightening antagonist, I can only wonder, is there no longer a place in film for the period romance, with the focus being the character’s emotional journey, rather than some epic struggle between good and evil?
Would you suggest to Jane Austen that she replace Wickham with the entire British militia? Or Mr. Collins with the Church of England? Or Lady Katherine De Bourgh with the Queen of England?
The heart of the story is the MC and the heartbreak cause by the frivolousness of meaningless infatuation. The Revolution, much as in Anna Karinena, is only a backdrop.
What kind of logline could you expect for a story say like Sense and Sensibility? Such a complex story involving many characters, and no real antagonist does not easily condense into just a few sentences.
Lastly, I am perfecting this logline for a finished screenplay which made second round at Austin Film Festival, with the intention of including it in a query letter. Thank you again for taking the time to help me with this.
See less