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When a highly-strung accountant inherits a failing community TV station, he finds unlikely performance geniuses at a small town talent competition to save the station.
Sorry just released I hadn't mentioned that till now... Very true about the inherit differences between series and film mostly that a series focuses on characters and film on plot. However I have found that most producers prefer when I pitch a series with a logline that has the same clear understandRead more
Sorry just released I hadn’t mentioned that till now…
Very true about the inherit differences between series and film mostly that a series focuses on characters and film on plot. However I have found that most producers prefer when I pitch a series with a logline that has the same clear understanding and comprehensive plot setup of a film.
This week I had a meeting with a producer who said he was to busy to read the pitch document and pilot episode for a series I developed with my writing partner. So he said “give me the verbal pitch” out came the logline and 30 minutes later he attached himself to the project and is now arranging a meeting with a broadcaster.
Point is a series logline needs to be as water tight as a film one with the only difference being that a series logline needs to pitch the pilot episode not the plot for an entire season. Once the basic premise that enables the MC to pursue a specific type of action on an ongoing basis is established it needs is a flaw or gimmick to help perpetuate the interest in the character.
Most successful pilots that I read regardless the genre appear to achieve this quite well.
See lessWhen a highly-strung accountant inherits a failing community TV station, he finds unlikely performance geniuses at a small town talent competition to save the station.
Sorry just released I hadn't mentioned that till now... Very true about the inherit differences between series and film mostly that a series focuses on characters and film on plot. However I have found that most producers prefer when I pitch a series with a logline that has the same clear understandRead more
Sorry just released I hadn’t mentioned that till now…
Very true about the inherit differences between series and film mostly that a series focuses on characters and film on plot. However I have found that most producers prefer when I pitch a series with a logline that has the same clear understanding and comprehensive plot setup of a film.
This week I had a meeting with a producer who said he was to busy to read the pitch document and pilot episode for a series I developed with my writing partner. So he said “give me the verbal pitch” out came the logline and 30 minutes later he attached himself to the project and is now arranging a meeting with a broadcaster.
Point is a series logline needs to be as water tight as a film one with the only difference being that a series logline needs to pitch the pilot episode not the plot for an entire season. Once the basic premise that enables the MC to pursue a specific type of action on an ongoing basis is established it needs is a flaw or gimmick to help perpetuate the interest in the character.
Most successful pilots that I read regardless the genre appear to achieve this quite well.
See lessAfter falling through a wormhole, a powerful young superhero with supernatural power is thrown through a whirlwind when he finds himself in the "Real World" where he and his adventures have been nothing more than a series of books.
This sounds like a play on fish out of water and an exercise in dramatic irony. But once the fun of seeing the MC deal with the new surrounding and learn the rules of the real world they will need a plot and that's not coming through the logline. There have been many films where a fictional characteRead more
This sounds like a play on fish out of water and an exercise in dramatic irony. But once the fun of seeing the MC deal with the new surrounding and learn the rules of the real world they will need a plot and that’s not coming through the logline.
There have been many films where a fictional character is magically transformed into the “real” world: as mentioned previously Last Action Hero, The Purple Rose of Cairo, Stranger Than Fiction, the end of The Never Ending Story, Who Framed Roger Rabbit, Space Jam, even in a Halloween special of The Simpsons Homer falls through a wormhole into the “real” world.
As a well established trope the magical mechanism by which the MC travels to the real world needs little if any explanation best to focus as mentioned above on the MC, his or her goal, and the antagonist.
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