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?A cop and his K-9 companion unintentionally hijack a billion dollar drug shipment from a ruthless cartel that will stop at nothing to get it back.
What Dkpough1 said: ?what is the protagonist's goal? ?What must he do with the haul?Also a billion dollars worth of drugs in one haul? ?Millions, certainly. Tens of millions, okay. ?But a billion dollars is not credible for a number of reasons including that it would entail a bulk size that would beRead more
What Dkpough1 said: ?what is the protagonist’s goal? ?What must he do with the haul?
Also a billion dollars worth of drugs in one haul? ?Millions, certainly. Tens of millions, okay. ?But a billion dollars is not credible for a number of reasons including that it would entail a bulk size that would be difficult to hide from the DEA,ergo, ?easier to spot ?– contrary to standard drug mule m.o.
And what is the drug? ?Cocaine, heroin, meth?
See lessWhen a space trucker saves Elvis Presley from assassination he must return to Earth, a planet that abandoned him as a child, and recover Presley’s hidden time machine to prevent it from being used to destroy the galaxy.
>>>When a space trucker discovers Elvis Presley is not dead, and the future leader of the entire galaxy, he must help recover Presley?s lost time machine to prevent an alien from undoing all of history.This version sort of clears up one persistent problem I have had with the concept: ?sinceRead more
>>>When a space trucker discovers Elvis Presley is not dead, and the future leader of the entire galaxy, he must help recover Presley?s lost time machine to prevent an alien from undoing all of history.
This version sort of clears up one persistent problem I have had with the concept: ?since Elvis Presley is supposed to be dead, how can he still be alive, and be under a threat of an assassination? ?You can’t just toss Elvis into the mix of a logline without some explanation in the face of the assumption and common knowledge that he’s dead.
Discovering that he’s not dead means that even the protagonist –like everyone reading the logline and script –thinks he is dead. ? There’s an implied promise the script will deliver an explanation as to why he still lives.
However, the concept still seems disjointed and cluttered; consequently, ?it still seems difficult to buy into the premise by suspending disbelief. ?And suspending disbelief is ?always a primary challenge for a story of this genre.
By cluttered I mean that it has so many elements that require a suspension of disbelief. ?IMHO, you are asking a script reader — and movie audience — to swallow too much exposition to just kick start the plot.
?In order to buy into the concept, a logline reader must suspend disbelief and accept that 1]Elvis isn’t dead’ 2] He’s the future leader of the galaxy; 3] He’s got a time machine…somewhere; 4] An evil alien intends to “undo all history”. ?(What does that mean? ); 5] And all of this is causally connected.
I shudder to think how much exposition the script may get bogged down in explaining how ?it all fits together.. All of these elements have to be set up, explained and aligned in the 1st Act, 30 pages, 30 minutes, max.
In one sentence, what is your story hook for logline readers?
And what’s your personal hook in the story? ?Why do you want to — why must you — write it?
fwiw
See lessWhen a young ward of the state is fostered to a crazy family planning a heist, he sets out to find his real father before being forced to engage in criminal activities that will see him back in juvenile prison.
As I understand it, then, the dramatic question of the plot -- and the should be only one dramatic question, not 2 or 3 -- the dramatic question is: ?will the kid successfully fulfill his role in the heist? ?(The dramatic question pertains to the main action of the 2nd Act. ?The answer to that questRead more
As I understand it, then, the dramatic question of the plot — and the should be only one dramatic question, not 2 or 3 — the dramatic question is: ?will the kid successfully fulfill his role in the heist? ?(The dramatic question pertains to the main action of the 2nd Act. ?The answer to that question is finally given in the 3rd Act.) ?That is the principle story you wish to tell.
Now within that story, the boy’s expectation is that if he does as he’s told, his foster parent will tell him where he can find his father. ?That’s the “carrot” being used to motivate compliance. ?The “stick” is the threat of a return to juvenile incarceration. ?And it’s beyond his control as to whether the foster parent will live up to his end of the bargain. ?So it’s an important 3rd Act element but it’s not part of the dramatic question because the dramatic question is about the protagonist’s role in the plot, what is within his power to do.
>>>I guess I always thought writing about indigenous issues when being non indigenous is risky due to the sensitivity of the subject and current issues.
Yep. ?It’s a not so leisurely stroll through a mine field. ?But the upside is that, imho, it affords an opportunity for a more dramatically interesting story.
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