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A bored accountant, disenchanted with life, thinks she?ll get a break on the ski slopes. Until she gets into a ski accident with a famous actor, who will do anything, including inventing a fake relationship, and turning her world upside down, to stay on top
The logline seems to switch protagonists. First the focus is on the accountant. Then the focus switches to the actor. Who is the protagonist? Whose story line provides the unity of action to drive the plot? If the accountant is the protagonist, then "get a break" is too vague to constitute an objectRead more
The logline seems to switch protagonists. First the focus is on the accountant. Then the focus switches to the actor. Who is the protagonist? Whose story line provides the unity of action to drive the plot?
If the accountant is the protagonist, then “get a break” is too vague to constitute an objective goal. Get a break for what? If the accountant is the protagonist, what is her specific objective goal?
Ditto if the actor is the protagonist: “fake a relationship” for what specific objective goal? “Stay on top ” is a general goal, but loglines are about a specific, urgent objective goal.
What are the stakes in their relationship? That is, Who stands to win what if the protagonist (whoever he/she is) achieves his/her objective goal (whatever it is)? Who stands to lose what if he/she fails?
See lessA fledging actress, unlucky in love, must decide whether to risk it all or play it safe for the “happily ever after” she wants.
In loglines, the dramatic question is implied, but never explicitly stated. Your current logline seems to have two story threads, one explicit (the search for the Prince and the implied, a successful if fledgling acting career. Are these two story threads and associated goals in conflict? If they arRead more
In loglines, the dramatic question is implied, but never explicitly stated.
Your current logline seems to have two story threads, one explicit (the search for the Prince and the implied, a successful if fledgling acting career. Are these two story threads and associated goals in conflict? If they are, how?
If not, why not?
And is she “risk aversive” in her career or in romance? Or both? And if she’s risk adverse only in terms of her career, how did she get to be successful actress? Acting is inherently a very risky business. Fledgling actors must cope with rejection and failure more frequently than they are likely to encounter in romance.
See lessA coma patient has an out of body experience, and her spirit must reach her ancestral plot to enter Heaven, before the “Slow-Walker” takes her to Hell.
What is the theme?
What is the theme?
See less