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  1. Posted: May 27, 2013In: Public

    When a wealthy benefactor gets insulted by a homophobic employee, she threatens to close down a community-center unless the culprit agrees to coach her son's team of misfits- a gay soccer team.

    dpg Singularity
    Added an answer on May 27, 2013 at 11:26 am

    Who is the main character, the benefactor or the culprit?

    Who is the main character, the benefactor or the culprit?

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  2. Posted: May 23, 2013In: Public

    A man faces an unimaginable crisis when he discovers his new girlfriend –the daughter of a Voodoo queen– is a zombie.

    dpg Singularity
    Added an answer on May 26, 2013 at 12:59 pm

    Good points by Koen, Richiev and Jean-Marie Mazaleyrat. A logline is a tool for focusing the story AND for marketing the story. The words "An unimaginable crisis" in this logline doesn't tell us what the ultimate stakes are. Must the protagonist fight for his life? Or must love find a way to triumphRead more

    Good points by Koen, Richiev and Jean-Marie Mazaleyrat. A logline is a tool for focusing the story AND for marketing the story.

    The words “An unimaginable crisis” in this logline doesn’t tell us what the ultimate stakes are. Must the protagonist fight for his life? Or must love find a way to triumph despite the inherent conflict (like in “Warm Bodies” where the vampire falls in love with a normal girl)?

    What’s the twist that makes this story idea different from all the other Zombie scripts being written and all the films already made?

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  3. Posted: May 23, 2013In: Public

    A man faces an unimaginable crisis when he discovers his new girlfriend –the daughter of a Voodoo queen– is a zombie.

    dpg Singularity
    Added an answer on May 25, 2013 at 12:53 am

    Hmm. Must every logline conform to the boilerplate "When... must... or else" formula? What constitutes "High Concept"? Isn't a "High Concept" story one where the situation contains such a great hook, where the dramatic struggle and imperative (goal-stakes) are so self-evident, it isn't necessary toRead more

    Hmm. Must every logline conform to the boilerplate “When… must… or else” formula?

    What constitutes “High Concept”? Isn’t a “High Concept” story one where the situation contains such a great hook, where the dramatic struggle and imperative (goal-stakes) are so self-evident, it isn’t necessary to say more? The premise says it all, sells itself.

    Look at some “High Concept” loglines for films:

    “Two Manhattan women establish a successful phone-sex business to pay the rent.” (For a Good Time Call…)

    “An alien decides to form a bluegrass band instead of destroying Earth.” (The History of Future Folk)

    “A hardhearted businessman rediscovers the joys of living when he inherits six penguins.” (Mr.Popper’s Penguins)

    “Boy meets girl. Boy falls in love. Girl doesn’t.” (500 Days)

    “A 38-year-old man confined to an iron lung resolves to lose his virginity.” (The Sessions)

    All rules have exceptions. Could this story premise be one of them?

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