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After the death of a longtime friend, a man’s forgotten imagination is rekindled by his daughter.
It's unclear to me what the father's dramatic problem is.??What does "forgotten imagination" mean? ?That he's lost his mojo to write? ?Paint? ?Sculpt? Compose music? Do stand up comedy? ?What is his mode of creative expression?Also it seems to make him a dependent actor rather than an autonomous ageRead more
It’s unclear to me what the father’s dramatic problem is.??What does “forgotten imagination” mean? ?That he’s lost his mojo to write? ?Paint? ?Sculpt? Compose music? Do stand up comedy? ?What is his mode of creative expression?
Also it seems to make him a dependent actor rather than an autonomous agent of his own dramatic destiny.
And if, as Foxtrot25 suggests, roles are reversed ?I am dubious that it solves what I perceive as a fundamental relationship problem; to wit, ?a disjunctive split between the owner of the problem and the owner of the responsibility for the solution.
The logline gives ownership of the problem to the father, and ownership of the task and responsibility for the solution to the daughter. ?In the other words, the character arc has been subdivided between 2 characters.
The general rule of the thumb is that whoever owns the character arc is the designated protagonist. So who owns the character arc? ?The father or the daughter??(And if the designated protagonist is supposed to be the daughter — what’s her character arc as distinct from his?)
Of course, a supporting character can provide comfort and encouragement. ?But in drama, the job of the character arc for the protagonist can’t be subcontracted out to a supporting character. ?The protagonist is ultimately responsible for effecting his own character arc — not dependent on someone else doing the job for him.
Ergo, later or sooner, the father has to man-up and take responsibility for his own character arc.
See lessWhen a young Latina, Izel Madrid, finds out she descends from Aztec gods, she decides to join forces with the charmingly surly, shapeshifting detective, Elias Navarro, in order to fight supernatural crime and find out the truth about her lineage.
Do you conceive this as a one-off feature film? ?Or the origin episode for a film franchise? ?(I myself think the story certainly has potential for setting up the latter. )Whatever, I suggest the inciting incident may need some polishing. ?First of all, does being descended from Aztec gods convey soRead more
Do you conceive this as a one-off feature film? ?Or the origin episode for a film franchise? ?(I myself think the story certainly has potential for setting up the latter. )
Whatever, I suggest the inciting incident may need some polishing. ?First of all, does being descended from Aztec gods convey some ultra-human powers? ?I’m guessing it does, but I shouldn’t have to guess. ?So I think the logline needs to say so because that is the story hook, the strongest selling point for the story.
Being a descendant of Aztec gods certainly raises a lot of career possibilities for the Latina. ?So of all the things she could do with her powers, what incites her to take on the bad hombres?
Well, one obvious answer to that she vows to take on the bad hombres ?to avenge a great injustice, the death of beloved ones in her family (father, mother, both, take your pick.) So I suggest the logline needs to indicate that. ?This justifies her career choice, strengthens her motivation and makes the stakes personal.
A final point: ?loglines for fictional stories should need not, in fact should not, include the names of the characters. ?Movie makers don’t care about names at this point. They do care about what kind of characters they are — their defining characteristic. ?It’s sufficient to say that she descended from Aztec gods and he is a shapeshifter.
Best wishes for this story.
See lessWhen dad goes bankrupt, one percenter Adam Lewis must learn to live within his means.
Richiev, as usual, has nailed the essential issue: ?a plot should be a conspiracy against the protagonist such that it forces him to do what he fears most, ?what he hates doing most.A logline should describe exactly what he must do anyway.?I like Richiev's take better because how can the character lRead more
Richiev, as usual, has nailed the essential issue: ?a plot should be a conspiracy against the protagonist such that it forces him to do what he fears most, ?what he hates doing most.
A logline should describe exactly what he must do anyway.
?I like Richiev’s take better because how can the character live within his means if he has no means? ?No doubt, he has to tighten his belt, but doesn’t he also need to find a source of income? ?Like get a job?
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