First, let me say I whole heartedly agree with Lynda Obst, “Hwood’s lost confidence in its taste — if it hears an idea, it must turn it into a comic, a graphic novel or a book and sell it to itself.”

Secondly, I could care less, SEM, if they read my logline or not with a ‘hit’, all I care about is a script read or at least a synopsis or treatment read.

Thirdly, this is a story about the darkest moment, when a woman facing life alone loses her son to kidnapping, so leaving that out is ludicrous. Also, from one of the best script doctors in the business at PitchFest in Burbank, “Always start your logline with an action”, so “Taking on warring drug cartels,” will be the start.

“Color” is important, as is the fact that African-American female ranchers that end up looking like Halle Berry, are as rare as hen’s teeth. I want unique and unusual, as I’m so over with boring, predictable or samo-samo. I want some ‘color’ in my film and if people don’t like ‘color’ then pick another boring piece of junk that I’ll never go see. A thousand movies a year like that… not interested in writing one or seeing one.

I live in the Hill Country of Texas and I’ve met some of these characters and I know that Austin is “The US Base of a Violent Drug Gang”, so… I had the President of the Austin Screenwriters group shout me down that there is no Mafia in Central Texas, and she writes scripts about pixies and unicorns. So uninformed people that want to boil a logline down to either boring, predictable or wacky, do not get my attention.

Mostly, from reading tons of loglines, if I’m not interested to see that logline play out on the screen, then it’s a very bad one as far as I’m concerned. It could fit a hundred producers taste to a T, but then that’s the kind of crap they’re producing out there in Hwood.