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After the heir to a local business dies, a scumbag photojournalist must cover the tragedy for his big break until the case becomes a homocide and his own grandfather tries to persuade him to help him frame the competitor for the murder.
I agree with Nir Shelter. Actually, I thought there was dramatic potential in the 1st version which set up a conflict between an aspiring photographer and his grandfather.? But I did not think the dramatic elements were properly chosen or aligned.? (I grew up in a rural environment, observed 1st hanRead more
I agree with Nir Shelter.
Actually, I thought there was dramatic potential in the 1st version which set up a conflict between an aspiring photographer and his grandfather.? But I did not think the dramatic elements were properly chosen or aligned.? (I grew up in a rural environment, observed 1st hand the generational ?conflicts among my own relatives, the collision between individual dreams and familial duty.)
The one element? that has remained constant in all the versions is a protagonist who takes pictures.? So?I presume that is?central to whatever story you aspire to tell.? But I just don’t know what you are trying to do with your protagonist.? What is the central theme or idea you want to explore in whatever the plot turns out to be?
See lessSon of an Indian couple – who deeply believes in Gandhian ideals of nonviolence, accidentally kills a powerful man to protect his father. While the family on run, the son and father fiercely stands against each other?s way to fight out the enemy.
So... the son has broken the father's Inviolate Rule about not resorting to violence.? That can be a source of ongoing conflict in the plot,?a moral debate between the father and son on how to deal with oppression and threats.? And I like stories with a strong moral argument, with equally legitimateRead more
So… the son has broken the father’s Inviolate Rule about not resorting to violence.? That can be a source of ongoing conflict in the plot,?a moral debate between the father and son on how to deal with oppression and threats.? And I like stories with a strong moral argument, with equally legitimate claims or positions in headlong conflict.? But that’s a secondary story line, not the primary one.
The primary story line?is what the son must do?about the more urgent problem of? the dead?man’s kin (and/or henchmen)?coming for?revenge.?? The logline doesn’t say.? It should.?
As Nir Shelter said, the logline should focus on the primary story line which is?about?how ?the son intends to prevail against those who are out to? take revenge, to kill him..??The logline need not focus on the secondary story line, the?moral argument and discord?between father and son.
So, how, specifically, does the son plan to fight for his life against those who seek to kill him?
See lessWhen left for dead in the Rocky Mountain wilderness, a fur trapper must call on all his will to survive to track down the man who murdered his son in front of him.
The bear mauling is the inciting incident, the event that triggers the plot, sets off the chain reaction of events.??If there is no mauling, there's is no plot.? None of the other events follow as a consequence.
The bear mauling is the inciting incident, the event that triggers the plot, sets off the chain reaction of events.??If there is no mauling, there’s is no plot.? None of the other events follow as a consequence.
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