We have a logline. We think. At least a first draft of one.
Loglines are a pain in the ass to write. I’ll be the first to admit that, and some of the best writers I know stink I writing them. Loglines require you to be concise and to basically come up with an overview to your entire movie usually in a single sentence. But they are helpful to quickly explain to someone the essence of your movie. If they get bored with that simple explanation, or don’t understand it, then it’s a pretty good sign you’d better go back to the drawing board. Here’s a quick article on writing a good logline that might be worth reading: How to Write the Perfect Logline
For “Lake Regret,” we wanted to convey the sadly ironic situation that our protagonist found himself in, and create empathy for what he was going through so that you would pull for him from beginning to end.
I’m going to leave the logline here for you to read, and ask yourself whether you would want to read this script. If so, why? If not, what is it that doesn’t appeal to you? This is the sixth or seventh draft of the logline, and we’re willing to write seven or eight more, but your feedback can help us refine it further.
LOGLINE – LAKE REGRET
A high school senior who accidentally caused the death of a popular student tries to deal with the emotional fall out at a lake house graduation party, and at the same time cut ties with the small town he desperately wants to leave behind.
In our next post, we’ll start pulling back some more of the curtain about developing the storyline, and how a couple of guys who collaborate so well still can get into disagreements over the tone and direction of the script.
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The further adventures of the screenwriting and marketing process of Lake Regret wherein Gary Howell documents his and Rick Hansberry's screenwriting adventures from concept, to the writing, to how they handle disagreements, to marketing the script. Reproduced with permission