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An overly curious high-school boy, has to reveal the killer of a flawless homicide, with his newfound psychic power, before the murderer, who also possess such power, finds him first and kills him along with his family, in a run and chase in both sub-concious and physical world.
How about something along the lines of: When a teenager using his psychic powers to score with girls accidentally tunes into the mind of a psychopath who fantasizes torturing and killing one, he must find and stop him before he acts it out. Okay, not less than 30 words. ?But not more than 40 either.Read more
How about something along the lines of:
When a teenager using his psychic powers to score with girls accidentally tunes into the mind of a psychopath who fantasizes torturing and killing one, he must find and stop him before he acts it out.
Okay, not less than 30 words. ?But not more than 40 either. ?Anyway, given that the essence of a character arc is to go from a negative valence to a positive one, it would be better if the kid starts out squandering his psychic abilities on selfish pursuits. ?Maybe his psychic powers have newly emerged with puberty; he’s like a kid playing with a new toy (negative). ?His character arc would be to grow up and use them as a tool for selfless good (positive).
So initially he uses his gifts to do foolish things like cheat on tests (by reading the mind of the nerd in the next row) and score with girls. And then he tunes into the brain waves of someone who likewise wants to score with girls — in the worst possible way. ? He is able to visualize the psychopath’s fantasies.
And then–worse–he begins to feel?the erotic desire underscoring the sadistic fantasy. ?That’s the psychopath invading his mind, tapping into the inner, latent psychopathology in his own unconscious — aka: his Shadow, for those who dig the depth psychology of CG Jung.
fwiw
See lessA college dropout turn travel agent living in Manhattan is faking his way through life. He receives news that his family’s dilapidated farm in Outback Australia, is facing foreclosure. Desperate to save the farm and fulfill his dream, he books an ageing reality TV star a vacation there, passing it off as a five-star resort. He and his family scramble to hide the truth, as they try to snag an investment from the celebrity.
Or how ?about: A con artist must save his family's farm from bankruptcy by persuading gullible guest celebrities that it s a trendy, new age resort. (22 words)
Or how ?about:
A con artist must save his family’s farm from bankruptcy by persuading gullible guest celebrities that it s a trendy, new age resort.
(22 words)
See lessWhen the caregiver of a quadriplegic man realizes he intends to commit suicide in six months, she plots to make him want to live.
Interesting aspects of the plot: Within the 1st 15 minutes, she signs a contract to take care of him for six months. ? That seems to be the initial inciting incident.And then the plot pivot into Act 2 seems to occur at around 30 minutes with a positive breakthrough in their relationship. But that brRead more
Interesting aspects of the plot: Within the 1st 15 minutes, she signs a contract to take care of him for six months. ? That seems to be the initial inciting incident.
And then the plot pivot into Act 2 seems to occur at around 30 minutes with a positive breakthrough in their relationship. But that breakthrough doesn?t trigger her to lock into the objective goal that drives the action (and emotion) of the movie. ?She’s already decided to to be a caregiver and no new decision is made on the basis of their relationship turning from sour to semi-sweet.
Only after she ? and the audience ? learns at the 40 minute mark ? the Big Reveal ? that he has all the medical and legal details worked out to end his life, does she commit to the objective goal of making him want to go on living.
Furthermore, it?s worth nothing that up to the point of the Big Reveal she takes care of him out of need. ? Her motivation ?for taking the job — and ?hanging in despite all the grief he gives her in the 1st 30 minutes — is that she can?t afford to quit. She desperately needs the money to support her family.
In contrast, her objective goal triggered by the Big Reveal is motivated by what she wants .
In writing loglines, we are told to cast the plot in terms of what a protagonist objectively needs to do. But this seems to be an instance where the plot is not driven by mere objective need but by subjective desire. The plot seems to engage when she starts acting from her heart, not her head.
And the hook of the plot — the sizzle that sold the book to become ?a movie, and sold the movie to the audience — is about her desire to stop the suicide, not ?her economic need to take care of him for 6 months.
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