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When a frustrated intelligence analyst realises that she has unique insight into a series of international assassinations, she must level up into the world of global espionage to learn more about the sociopathic young woman who is doing the killing. But is this a deadly game of cat and mouse, or a love story?
"But is this a deadly game of cat and mouse, or a love story?" - tacking this onto the end feels like a short cut. I recommend weaving the relationship line into the actual logline as this speaks to the story's conflict.
“But is this a deadly game of cat and mouse, or a love story?” – tacking this onto the end feels like a short cut. I recommend weaving the relationship line into the actual logline as this speaks to the story’s conflict.
See lessWhen unscrupulous salesperson Eleanor accidentally ends up in the Heaven-like Good Place in a case of mistaken identity, she must learn to pass as a good person if she is to avoid discovery and be cast into the Hellish torment of the Bad Place.
Nice. You've included a flaw for the MC and her predicament/story world in a way that shows how they will be in conflict. And even managed to squeeze in the stakes.
Nice. You’ve included a flaw for the MC and her predicament/story world in a way that shows how they will be in conflict. And even managed to squeeze in the stakes.
See lessWhen a pie-maker with the ability to bring people back from the dead, revives his child-hood sweetheart, he and his detective side kick work to find her killer before the killer strikes again.
Is the pie making integral to this story concept? If so, it is not clear from your logline. If not, perhaps leave it out. It seems unusual that a pie maker would have a detective as a sidekick. It is an interesting mix but you risk confusing the reader.
Is the pie making integral to this story concept? If so, it is not clear from your logline. If not, perhaps leave it out. It seems unusual that a pie maker would have a detective as a sidekick. It is an interesting mix but you risk confusing the reader.
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