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The real-world plight of struggling farmers pushed too far. Maybe open with them throwing fake blood on a person wearing a we later find out FAKE fur coat. I actually just went down a rabbit hole of eco-terrorism as response to this. Also turns out that the U. She could play her awful ukulele song parodies on her youtube channel in the beginning while feuding with Gordon Ramsay. Another fun victim for later.

But maybe she also learns by the end that although killing animals is wrong… murder IS sometimes the answer. Very much so. A few scenes? A set of scenes that actually string together to make a story? Maybe we can come up with some ideas to suggest to the author. In contrast I agree with the critique of The Malignant Shift. Way too vague, it would take a seriously impressive first page for me not to pass on it.

The title also tells me nothing. I like these haunted object stories. You can imagine the poster. And I too would like a little more of what this wave of horror entails. I can assume the projector does something since they plug it in but does it project anything?

Having the same premise for the Medic — someone the criminal underworld call, but not aligned with any one person — could be interesting. And the thing he discovers threatens that current stability.

Max : No, no hospital. Annie : Shit! Okay, so we go to a mob doctor, right? Max : You know one of those, sweetheart? Annie : No. Max : No. Annie : What about a veterinarian that works for the mob? Max : You know one of those? William Rush was dismissed from a major L. Still, I think these comparisons probably mostly help this premise, in particular because it is currently imagined as a movie rather show.

My fumigator books the appt. He shows up the night before, gasses the family to sleep. He sets up a special tent impossible to penetrate. His gas paralyzes victims while awake , they can only helplessly watch him invade their home. I think that was the strategy of the John Lithgow character in Dexter. A great question! Are the bodies found of the family, or as part of his whole routine he disposes of the bodies?

Because yeah, missing persons will raise fewer red flags than dead bodies, and so allow for the pattern to be more easily repeated, especially if he targets families that might have some other plausible reason for disappearing — always targets a family that has an addict in it, and plants suggestions at the scene that their disappearance might in some way be related to drug dealing.

Grr, only copy of the script I can find is a poorly scanned one. Well, the movie itself is great. This one really stands out from the morass of the poorly explained and the half-baked, though the concept is not horror.

His story is something along the lines of what I want to replicate. But what I want to do with it is address just how poor an idea becoming a superhero is. I decided to rewrite my logline and re-post it here because I love the abuse. A Marvel movie it is not. I was thinking something much more grounded. Getting into fist-fights with street people. Arguments with local cops. The villain ultimately getting apprehended by the F. I: our heroes having precisely fuck-all to do with it. Delusional vigilaintism takes on a new tone though in the age of QAnon and similair.

Check out the doc A Gray State. As is it feels like a lot for one movie. Getting into fist-fights. I hear ya. Obviously, work would need to be put in that would very clearly differentiate the two. Work of the tonal variety. Is this a world where people have actual superpowers, or just get trained to fight and put on costumes?

No super-powers here. Just super-bad decision making. Mental illness, in some cases. On the one hand, frustrating for those who would like their work to be judged by the quality of the actual screenplay. On the other hand, not an unreasonable facsimile of some of the arbitrary nature of what scripts get attention.

Of course. Try prose fiction or plays. Still too long. Try saying the logline out loud. Stripping all that stuff out might end up with a logline that is a little too generic. Remember Valerian and the city of a thousand planets? I predict this movie will go over like a big steaming turd. Not sure why production companies want to deliberately throw money away.

Great comparison. And sure, maybe. But we would probably have assumed the same thing about Andrew Stanton and John Carter. French Sci-Fi is very influential but yes, also very strange and weird. But also I will believe this is a thing when I see it in theatres, not before Wattiti was also attached to a live action Akira before that fell through. Yeah, I believe he was attached to a star wars movie as well.

Oh right! Strange that it took 40 years for the adaptation to materialize. From a story perspective it could work…. Unless you seek to see it under the influence of mind-altering substances, I suspect most people will pass. It was filled with rape, suicide, and brutal violence on a level that even I was off put by. If Taika can keep the budget at a lean 60 million It could have a chance at making its money back.

Costner on the other hand has history playing and it shows. Wanted to provide people with an updated longline. Not too late to rewrite it and put it in a more interesting location for college friends… a Bavarian castle on Air BnB. Give us some scenery! We need some glam! Some editorial experience here.

As to the logline itself — well, it does feel a little too familiar. I echo some of the other comments here — why not change up the setting a little? The acquisition of the land on which the lodge stands, for just an example. Add a touch of social parable to the story.

Leave us asking what sort of revenge is justified and when punishment goes too far…. Good luck with it! Thanks for the notes everyone.

LOGLINE: A ruthless killer hunts down five college friends vacationing at a lodge cabin, but the lines between predator and prey are blurred as the group discovers their assailent is fueled by a brutal hate crime linked to their pasts.

From a standing start, a bit tough… less time than the pros and most of us have jobs! Something I noticed last… couple of times: people asking for help on which logline to write… whether an idea is worth pursuing… just weeks from the deadline. I did some calculations based on the minimum times I felt that I or someone better than I could achieve those goals… a lot depends on how long it takes to get feedback and how big the changes you might have to make… but id say you need to have completed a script ready for feedback from a select group or asking for reads, but before submitting by Christmas.

I always assume these contests get submissions from people who have done at a minimum the first three steps prior to being announced. Or, rather, those are the scripts that get picked. Not impossible.

If he dislikes one of the other, then chucked. If he likes both, then put into a pile. Then count the pile. If more than 5, read pages of the script, again sort by interest or not. If more, maybe he goes through them again, but my guess is re-reads the logline and why you should read for what are the 5 most attention grabbing.

And voila. Old news, Dave. Old news. What else is there to say? Just the way it is. But I did — I kind of imagined CR reading ten pages or so of a script — making a decision on whether it was worth moving forward — that goes into a pile — and scripts in that pile are read a bit more before we get to five. And again — no complaint or sour grapes intended — It actually makes me feel better about my prior rejections.

I think I understand better now. I can see both sides. Exaggeration on both sides. So, transparency on the real due date would be helpful, more than his judging criteria because ANY judging criteria is going to be subjective. Just one of those things. The one area that IS unfair is the decent idea whose subject matter is not popular in Hollywood because reasons. I remember running several ideas past my manager, and he actively discouraged me from writing the clear standout because no one was reading any script with that subject matter.

Hey, the cool kids have decided that helicopters are lame. Whatcha gonna do about it, Poindexter? It would be helpful if Carson, as a fellow ostensibly with his finger on the pulse, could maintain a list of areas that are currently unpopular. On hiatus EC — decided to spend some time away from writing — need to recharge the batteries. Sure… but seems to be only one small element of the filter. Loglines, pages, why you should read… etc.

But on Jan 31, the forum votes and the winner makes the Showdown…. Focus on that and get more specific. Draw what unique about your script. What is the villainous, opposing force like? One morning, back in my college days, I was walking across campus when I saw a squirrel try to jump from one tree limb to the next.

But the squirrel somehow misjudged the distance between the branches and fell short by a good foot from its mark. Instead of crashing to the ground, the squirrel made a soft landing into the hair of a female student. After about ten frenzied seconds of running about in ten different directions, the woman collapsed to the ground and her fall knocked loose the squirrel from her hair.

Quite a few other big name actors played. Clooney was a solid HS player. Jon Bernthal was a catcher and played pro overseas for a few years. Kurt Russell and Ron Shelton played low A together. Heard some pros discussing loglines at a conference once. They all agreed the movie Terminator had one of the best.

I could not agree with your observation about ATJ and the minions more. It was SUCH a bad call on the part of the filmmakers. Really and truly bad. More surprising to me is them greenlighting the sequel!

It must have done decent numbers streaming. And also they just want to be able to release movies on set dates at this point. The whole thing is emotionally inert. Visually murky.

A blockbuster dull as dishwater. The very opposite of a crowd pleaser. I would be utterly shocked to see more people come back for the sequel. Maintain a relationship with him like they had with Christopher Nolan.

So yeah, I think they might be prepared to take upwards of an million dollar loss just to keep Denis happy and maintain the image of a studio where popular aueteurs can do big movies. Because outside of WB, the only other serious game in town is, ironically enough, Netflix, who are increasingly offering theatrical exclusive windows for certain films.

Once is an outlier, two is a pattern kind of thing. No director would trust them to follow through on what was agreed when they set out to make the movie. I was confused as hell. AND — pretty sure I felt nothing. Also — the continuing blending of high tech worlds with low tech battles see — WTF is with the swords gets tedious. There are just too many worlds in this one to explain in a feature format — I believe if they had gone with DUNE the series — they may have been able to nail it — ala GOT.

I laughed at your comment about the swords. Too true. Was thinking the same thing while watching it. Hey, you guys have guns, right?!? Pretty sure I saw one or two in there…. OT: Eternals.

Writing was awful. Direction was great. Pretty clear that Feige forced that script on Chloe especially when you compare it to her first two movies. Good production design, cinematography, editing, casting, costumes, CGI for a Marvel movie.

The action was good too. His movies are just three hour voice over montages with barely any dialogue or conversation. A fair portion, not a majority, but a reasonable percentage of screenplays through history have been bought, in part, for their title. More than once. The tone of the piece may not match those suggestions…. People more familiar with the script will have better ideas. That said, I like the title.

Any association with other successful projects with similar names probably only helps. I push back on your pushback! Absolutely correct that long titles risk being seen as pretentious. And also often very difficult to remember. So, yeah, while it can set you apart, also carries risk. Presumably that was part of the appeal! Naming a script after your lead character is very much a last-ditch move. The script HAS a title but something else has the same title and they need to clear it.

Untitled Chef Project is I think one of the only other big ones, which seems possible really only in the early Black List days. I was thinking of entering my script Venomous Creatures in the next showdown but Carson probably hates red ants, wasps, spiders, venomous snakes, africanized killer bees, Portuguese man of war jellyfish, scorpions and poison dart frogs.

Southern Gothic was suggested by a friend. The genre is hard to nail down. The immunity to venom is a superpower of sorts, the girls could weaponize venomous creatures, but they are young and naive and it never occurs to them until they are backed into a corner. Ridiculous, maybe? I think being unable to nail genre hurts its chances, maybe a reader is unprepared for the places I go with story?

Or maybe the creatures are too off-putting? But, IMO, it definitely checks the anything goes category. Could save yourself some words by cutting that.

But what sort of power is being immune to snakes? Thanks, Scott. I think your feedback reflects what a lot of people think when they see the words Venomous. The poison dart frog is one of the most venomous creatures in the world.

The girls are born immune to ALL venom, which makes their blood extremely valuable because antivenin is incredible expensive. In May of this year the WHO estimated that 5. World-wide, an estimated 81,, people die from snakebite , most are in Asia, Africa and Latin America so not exactly relevant for Hollywood, I guess.

Finessing it would help, but…. Best I can suggest. Also, establish them as adult twins who believe they are invincible rather than twin girls who grow up believing they are invincible. More to the point. Is there a better way to describe their pursuers? We should probably get some sense of why these pursuers cannot be allowed to get possession of a sample of their blood.

Thanks, Bri. Trying to establish the naivete of the girls to help explain some of their choices and reactions to the world. The road trip is their first time being on their own and exposed to others. Their mother recognized the danger that interest in their blood would create so kept them isolated. I find it awkward to use and interpret. You can inform the reader that the are twins on first page. As well as demeaning the sisters. Logline: Raised in seclusion to conceal a rare immunity to venom twin girls grow up believing they are invincible, until a road trip to meet with a scientist exposes them to a band of bumbling miscreants who discover their secret and hunt them for their blood.

This fails on the basic level of making a lick of sense. More questions; the girls believe they are invincible; what, like Superman? Or just to venom. Could of course just be a log line issue, rather than a script one, but worth clarifying. It really shows your voice. The strong female duo angle, I think, should really be pushed as well as a road trip.

Maybe Thelma and Louise meets Wonder Woman. It springs to mind that if their blood is so valuable that the scientist would probably go to them? Since your entire list of venomous creatures have been featured individually on screen more than a few times…. Arachnophobia, Earth Vs. One quick? Was it for strict religious reasons or backwoods superstitions or just oddball parenting or a combo of all three or some reason all together different? For example, if I were never specifically tested or got bit by one of the creatures — how would you ever know you have a rare immunity against such stuff?

Then, when they were very young they were bit by a water moccasin. So, they tested them and discovered they were immune to venom. The Doc contacted a guy with Big Pharma who was keen to have access to the girls and made the Mom feel they were in danger because their blood was so valuable, so she raised them in seclusion to keep them safe.

Hey Steph — I still love the premise of vemon-immuned girls who seek to learn how super immuned they are. But I still find the motivations and villains lack urgency and danger. Thus, there lives are in danger of becoming a human guinea pig. People donate blood all the time without risking death. Also, the road trip part of the story makes me feel the heavy hand of the writer who seems to want this because she does. Or at least take the train. A road trip movie lacks urgency.

A couple of thoughts on how you could make it more dynamic. Instead of blood — have it be the liver that Big Pharma or military wants. Next, maybe make it that one twin has the immunity — not both.

Or they each have different immunities?? So now the danger is to both of them because if they capture the non-immuned one, they might kill her with tests or use her for leverage. Maybe one is immuned to snake bites while the other is immuned to insect bites??

The goal of wanting to meet a scientist across country, imo, lacks urgency and stakes. What happens? Nothing really. But when they learn that they will be sacrificed to science and maybe both because to learn why one is immune and the other not — they must go on the run. But as they hide among snakes or killer bees — one sister is always in danger.

This would present more suspense to the audience. Anyway — off the cuff ideas that might help your story… or not. Email me if you think my beefs are addressed and you want another pair of eyes on it. I agree the road trip lacks urgency. The ONLY reason I wanted to make it a road trip was for the fun factor of exposure to difference venomous creatures that were unique to an area.

Their trip started out as a fun weekend vacation and went south from the killing in the parking lot of the bar. Of course, for two naive girls it might feel a bit more terrifying — but I think for the audience it will lack real stakes…. But do we ever think Kevin is in danger? Would love to check them out. Objectively, it hits the right buttons. Very current and relevant social commentary 2. Clear and original twist on an established formula 3. Plus, I was responding to Anon anyway.

Social commentary and horror often go hand-in-hand… think George Romero. But a story about animal rights activists who get… their comeuppance…? Are we supposed to cheer as the young campaigner against animal cruelty is impaled on a pitchfork and then ground into pig meat? Like killing a puppy dog. Assuming the heroes or one of them is triumphant — the concept is solid I think. You guys been hanging out with Peter Theil or what? Though I do think Carson is probably right about organ harvesting not really being a great concept, which would extend along to blood harvesting too.

Clooney used to talk about baseball quite a bit twenty years ago when he was getting all of that attention for running a big time hoops game during breaks in ER filming. I seem to recall him looking for a baseball script to star in during that same period, but it never materialized. I think it might work better if the job comes as a surprise to the character… at some point… rather than being all upfront about it. Some ideas might be better suited to a Tv show.

Besides Scott S. Teens, a barn, a movie theater projector, and the threat of some kind of horror. The origin of this device, where it was first used, how did it become cursed or possessed, what kind of hair-raising mischief does it unleash if some unlucky soul s turn it on, and so forth.

Here an aging actress spends days and nights viewing her own films in a private screening room… longing for her lost youth flickering on the wall and the companionship of her recently departed co-stars.

But, do you have an actual script you could shoot? Obviously, you the Nicholls and Black List no longer have a fucking clue as to what a screenplay is. A shootable screenplay anyway. It becomes clearer and clearer why shit is coming out of Hollywood. The truly sad part is, you brag about it. The scenes will be different, because people will be doing things and not talking about what we should be seeing. Will it be good? Who knows? But, you have a shootable screenplay.

Any asshole can buy screenwriting software, learn the formatting, and put scenes together. Go to every peer review site and download some scripts. A horrible story shown is more apt to be bought than a good idea written backward. Because there are so few properly written screenplays.

Because it is. You fail on every level. These readers are fucking morons. You can get your points across without being a jerk. If you have time, please hit me at operaciones gmail. Paranormal Tv Show Estranged married couple Blackest secrets, desires and agonies take human form Century-long string if physically-impossible suicides. If the couple are estranged, going through difficulties, family tragedy… that differentiates it from… well, from a lot of other horror stuff that pays ZERO attention to character.

Upon further consideration, I will now make a wild assumption that THIS is the premise of the script:. In this instance, doubles of the estranged married couple will attempt to kill them and make it look like suicide.

A malevolent hotel with a hundred year history of horrific killings plays host to a team of television ghost hunters, giving shape to their darkest secrets and fears in a tormenting psychological game where losing means worse than death. Now you just need to cast the leads loosely based on the two leads from the GH crew: Jason H.

Wife and I finished it last night. Certainly no Tombstone, the defining Western of my gen. Your write up was very much on point. Top notch talent indeed. I admire all those actors, but the movie was not worthy of their talents.

I think I would have liked it if it was more a straight up revenge movie. But it got too distracting with all the other stuff going on. Why would it stop? It has a heavily guarded prisoner. Surely, just stopping is the stupidest thing to do. And then the men with rifles could have just shot everyone from the jail car before they got on the train. Why were there so many scenes where someone draws a gun and has it pointed at one of the bad guys but then backs down and just gives in?

Every time Idris Elba and his crew stumble with a Caucasian the train machinist, the soldiers, some poor guy , they shoot first and ask questions later. Evil Caucasians are a common trope in blacksplotation movies. Most readers stop reading a script if they have that option, like a producer does because the story so weak. They come from my nightmares. I chatted about this flick in length a couple of days ago after seeing its trailer online.

See below for my original comment. It does add another whole layer of overall creepiness and a real dream-like quality to the standard spooky house template.

The abandoned estate was supposedly left intact when the valley was flooded to build the lake to supply water to the surrounding communities in the area. On paper the pic seems to check off a few of the items that Carson likes speechifying about on a regular basis:. Instead of a haunted house rotting away in a rural zip code somewhere, you get one covered with a hundred feet of H The divers only have an hour or so of oxygen.

So getting trapped in an house of horrors at the bottom of a lake really ups the urgency of trying to get out in a timely manner. This whole post was for people who felt like they got shafted. One possible entry…. Premise: A Mr. Goal: Herbie the repairman wants his newfound relationship to Sandy to work.

Stakes: Self image, both Herbie and Sandy are heavy-set trying to get in better shape for different reasons. A lot of writing is building up critical mass and momentum. Keep Mr. Think about the cool scenes you could have with a conflicted guy whose making extra money by playing Santa on the weekends…. If you like drunk mall Santas, you should love Bad Santa.

Kinda just sounds like guy with a job likes a girl at the gym. A lot of comedy is about pushing a character to snap. It feels like multiple stories that each go off in different directions. Fix-It has issues with boss. This still works but Boy, Oh Boy are you opening up a can of politically incorrect worms that will have the Trans Community up in arms. Nowadays, the cancelers are telling us that cross-dressing should not be made fun of or frowned upon.

Besides, you could always change it to something else later if you get too much resistance. Basically, mean boss gets blackmailed for doing something. Mr Fix-It works as a part-time Santa at the mall. What does Mr Fix-It have to do with a mall Santa? Next, Mr Fix It falls for a woman at the gym. Again, what does a girl at the gym have to do with Mr.

A far as I can tell…. When an appliance that Mr. Fix-It fixed incapacitates the beloved mall Santa, he must moonlight to keep his boss from finding out his mistake and risk losing his promotion.

In the end, Mr. Did he edit his original post or something? Mixed Nuts is almost 30 years old! Times have changed…. This is , the doors are open to everything now. I though they handled that accent very well in the TV series. Just pitching some idea out there.

BUT if I did pull the trigger on this I think I could make the Herbie character someone that an established comedy actor would like to play. Natural or supernatural? Think it may need ONE or two more things,.. Second, it easily ties into the celtic demi-god, with antlers on a man being a very popular image. But maybe you already have a good set up for why they are there. My bad! Sword fight to the death in a medieval, adobe dome. A reclusive tech billionaire invites the cast of her favorite 90s teen-drama to shoot a reunion episode.

A something underachiever hopelessly stuck in the past, stumbles upon a magical video store. Less so if it were drama. Hope London job is a screenplay and not a real life caper… hate to see you spend time in Wandsworth… the town or the prison. Hopefully pre-WGA writers know the difference between these examples vs.

On the other hand… if they sell and you go to the Deadline article instead of a thirty-words-or-less logline you get the synopsis to Les Miserables. At least a paragraph or two. It helps to be plastered. They had to cut the paraplegic, Asian, marshal arts master to get it down to a hundred pages. Reunion: Then…? I mean, this could be any genre. But, really, it could be anything, which also makes it nothing. Weird: Did we take a trip back to and nobody told me?

I thought I read that somewhere. Are we really going back to this well again? Two Day Rental: …then what? Hard pass from me. Honestly, look at it. Ugh, god…. Hey, cool, sure, why not? You could say these are NOT loglines. But think about it. Yes, they could be better. I think they should be better. No doubt. Loglines are a sales tool. But squeezing them into a formula does not make them a must read. I can get behind that logic. But, which would you say is better or is it a case-by-case thing , in your opinion: Being as honest as you can about act 1 and some of 2 while hinting at 3 or not putting as much thought into them and maybe going outside the boundaries a bit?

I once had to deal with — how do you write a logline without misleading. The way you word it helps. Scott S. Do I do it this way too general or the other way too detailed. My answer is somewhat in the middle. There were things that he could leave out — to make it sound less kitchen sink. Pain in the ass, that one. Ran into that problem on here with both Wired and Andretta.

I wanted to be honest. The agents may be aware of the script, may have advised on which script to write,. And why the most important thing, the first thing is get a manager or agent. I had a reclusive tech billionaire dying of terminal cancer and inviting his nemesis in high school who had a science fair experiment that kept insects alive forever.

It was kind of Elon Musk meets The Fly. This was before Carson gave us lessons on how to write horror. I remember reading it. It was a great script. Great hook, cheap to produce. After an egotistical playboy catches a rare fatal disease on a self-indulgent escapade, he decides to join a secret terminally-ill mercenary program to make his life mean something and goes on an impossible suicide mission to extract a hostage in gang-infested Haiti.

I wanted to combine a character redemption story with a fast-paced, anything can happen action plot… with lots of twists and turns.

As a practical matter I was put off at egotistical playboy. Good luck. Honestly… I kinda like it. He has to die. Yeah — ending is not going to be what you think it will be. Got some nice plot twists that go on as the story progresses. EDIT: Finished those about a week and a half ago. I find walking away from script for several weeks gives me allows me to review it then with fresher eyes.

Good Luck! I wish that were the case. I was on a roll, then lost power for four days. When it came back, I lost my enthusiasm and have been going at about a third of the pace I was. Go figure. So, now, re-writing scenes that are up to 11 years old, from various drafts and even back to when this was still a comic book.

Hard times ahead. The more I write something else — the more ideas I come up with on how to fix something already written. Just plow ahead. But the truth is, you were working on it or something similar in your head in various stages all your life. I know, I know. How close are you getting to finish yours, after your newest adjustments? Whatever it takes. I used to feel pressured to finish, polish and send it out. The logline is too much of a downer.

Surviving Haiti will be more than shooting a gun — it will require using your wits and ability to talk your way out of situations. But someone with strategic sense and a willing to take risks that almost make him fearless could overcome incredible odds. I wholeheartedly agree that being able to make him a. After a narcistic playboy catches a fatal disease, he tries to bring meaning to his life by joining a suicide mission to extract a hostage in gang-infested Haiti.

But, I really think it needs to be in there. So plot and character come later. I mean, in example, if you confine yourself to that plot, for starters realism is off the table. Meaning you gotta have some over the top action and so on. Then the rest of the pieces — plot, character, bits of dialogue, moments — will fall into place to serve that action.

Thanks for link. Retweeet, you never told me if you liked Gravesite Crows or not. Whatzup with that? Some of these sound pretty interesting! Commiserations to all those who missed out. The espionage, The Final Domino , is set within the Troubles in Northern Ireland and is about the Irish equivalent of the secret service a much more bare-bones agency as they investigate the disappearance of the agent and the possibility of an IRA mole within the agency.

And lastly, the interrogation thriller, The Mog , is set within the Somali civil war conflict and is about a naive translator sent to aid the vicious interrogation of a recently captured war criminal, told with non-linear elements and the occasional burst of action.

Now to decide which to go with. A period spy thriller with a novel twist… Irish spies. Lots of Irish actors who could be cast, so potential there. Tom Wilkinson. Just put Tom Wilkinson in there. Funny you say that but I make up word documents for each of my characters and I pop in photographs and such of different actors to get an idea in my head for how they look, and Tom Wilkinson is in one of them!

Along with Brendan Gleeson and Ciaran Hinds. Thanks for the feedback Scott! Think it could be some good unchartered waters. Also, if you set this up as an Irish production, you can still apply for some EU funding.

Agree with Scott that The Mog sounds like a downer. Catnip for actors but audience will rather watch a story about the Irish secret service than an interpreter in war-torn Somali. I really like the sound of the Final Domino. The southern Irish perspective on the Troubles is an interesting and underexplored one and moving away from the usual CIA-MI6-KGB mould with a different intelligence agency also offers interesting room for new directions.

Apparently studios have begun releasing FYC screenplays. Utterly bizarrely The Tomorrow War is one of them?!? Gotta get them fast if you want them. Don Boose on Simply Scripts also posts all the links — for past years the ones that stick too! Thank you, I had forgotten it. We sit here year after year after year trying to dissect this formula but we never ask the base question: WHO? Who conjures this stuff. Because try-try-try as we all might we never get it right as amateurs; always something missing, never hitting the right mark etc etc.

How the fuck is that work? If there are rules: Put them out. Is there a PDF? A book? Give me a fucking link…. Or treatment. Google ScriptShadow and loglines. When Earth falls under attack from invincible aliens, Maj. William Cage finds himself caught in a time loop fighting the same battles over and over. Does that equal a sale: Nope. Never has, never will. Truthfully: Had you no preconceived ideas or images for these films in mind would these loglines mean a lick of shit?

In fact I would bet if these loglines showed up here naked and screaming they would be scrutinized into oblivion. Superheros were big at one time. Disaster stories had their time in the sun at another time. I get your frustration. But there is an art to writing a good logline. But a good logline will get you more reads than a bad one. My nephew used to be pissed at the world because his band and his music were never able to find the kind of success he sought.

He wanted to be recognized for creating a new type of music…. Good stories are good stories. And they can usually be expressed simply and concisely. But those types of stories are super difficult to relay in a logline — so those types of projects are reserved for established directors or writers — who can pitch the complexities of the project in person. Learn to craft simple stories with complex characters that can be summed easily in a logline. Or… 2. Written by distinguished authors and historians who bring the world of history alive, the magazine covers in vivid detail the soldiers, leaders, tactics, and weapons throughout military history, and delivers it in an exquisitely illustrated, premium quality edition.

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No action will be required to take advantage and renew at the latest offer rate. You may cancel your subscription at any time by calling and to receive a refund for the undelivered portion of your subscription. Close menu. Magazines Back Issues Expand submenu Collapse submenu. Your cart. Close Cart. Our popular titles feature in-depth storytelling and iconic imagery to engage and inform on the the people, the wars and the events that shaped America and the world.