Are there simple guidelines that writers can follow to write a good logline? Writing a compelling and interesting logline is an art. And as with screenwriting, there is no secret formula for achieving it. Beyond the theory, here are some simple tips you can apply to your process that will help you write the most effective logline for your script. Some people think that the logline is a necessary evil in the film world. Screenwriters sometimes see it as an "evil" because it feels like the industry is asking us to condense our 100-page script into a few dozen words. And yet, all this is false, we should learn to write a logline before learning to write a screenplay. In a logline, you don't tell a story. You present the central concept of your screenplay. This logline is the first selling point of your script. It starts the conversation. The logline is what managers, agents and producers will use first to get your script considered, pitched, bought, developed, packaged, financed, produced and distributed. It is the first contact between the film world and your script. When production professionals read a screenplay, you must present them with: - The main character(s) - The world they live in - The precipitating incident - The major conflict they face - The stakes of the story These are the elements that make up the concept of a story. As for the secondary characters, side stories, twists and revelations? Save all that for the pitch and the script itself. 1. Start with a structure: When [INITIAL INCIDENT HAPPENS]... A [CHARACTER]... Must [OBJECTIVE]... Before [STEPS]. This first version will help you get started. However, this is not a simple form filling process. It simply allows you to identify the triggering incident, the major conflict, the protagonist(s), their purpose in the story, and the major issues. Then it's a matter of refining the language and structure of the story so that it's short, effective and relevant, and leaves the reader wanting more.

Do not exceed 25 to 50 words.

Get to the point. Film professionals don't have time to read a synopsis or treatment. They have to make decisions quickly because there are so many scripts to review. To make an initial filter and review the hundreds and hundreds of scripts on the market, script readers need your logline. This way they can quickly tell if your script has a concept, a character and a story that makes them want to know more. So keep it to 25-50 words.

Avoid character names.

This isn't a hard and fast rule, but using character types instead of character names makes for a better impact. It gives the reader an instant description of the protagonist and helps organize the cast. Examples: A retired detective A rookie cop A teacher from a poor neighborhood A single mother A struggling writer Focusing on character types also helps the reader situate the conflict: - A retired detective won't have the authority he once had to solve the case. - A rookie cop will have to deal with his inexperience and the reluctance of authority figures. - A teacher in a low-income neighborhood may face lack of funds and other challenges. - A single mother may have to overcome additional challenges to achieve a goal. - A struggling writer will face poverty and insecurity.

Look for irony in your concepts

Irony is an effective way to convey a concept. By making unlikely encounters between different types of characters around an offbeat conflict, you get attention. Not every script is suited to an ironic logline, but if it is, go for it. Example: A music fan who is afraid of water wins a ticket to her favorite band's concert on a cruise.

Write several variations with different wording

Writing a good logline requires a process of trial and error, multiple attempts. Start with the structure discussed above, then try ten, twenty, thirty different versions. In these trials, you will find elements that are better than others that you may want to combine into what will become the most effective logline.

Write the logline before the script.

By starting with the logline, you'll save time; you'll find the core of your script. From the key elements of the logline, the rest will become easier to embroider around that base.

Read sample loglines

Look at loglines from other movies, you learn a lot from that. Take these examples and try to replace the elements in them with those in your story.