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Logline/Synopsis Critique?

Would anyone be willing to give me feedback on how I could improve either? I feel like the synopsis is really long right now, but I wanted to include all the plot info...

Logline: SHEILA, a freaked-out 1960‘s hippy mysteriously wakes up in 2008 shortly before Obama’s election. In a seemingly alien world she searches for her mother, politics, and love.

Synopsis: SHEILA is a flower-child, who abruptly awakes and finds herself in the year 2008. Trying to orient herself, Sheila wanders the streets seeking to find both more information about where she is, and how to contact her mother. After spending the night on the street, she is spotted by TOMMY, a generous graduate student who offers to let her crash at his place.

Tommy and his best friend JUDE take Sheila in, and Jude gets her a job with the local Obama campaign. Sheila and Tommy learn that her mother died in a car accident, but Sheila is still desperate for more information, and save all the money she earns with vague plans to hire a P.I. Meanwhile, despite learning that Tommy is gay, Sheila begins to fall in love with him, while also feeling a growing attraction to Jude. After Jude breaks up with his girlfriend EMILY because she assumes that Jude and Tommy “hooked-up” (as they had once in the past), Jude and Sheila consummate their attraction. Sheila does not tell Tommy, fearing that it will hurt him. Ironically, Tommy has learned that Sheila’s mother moved to the city they are in before she died but is afraid that if he reveals this to Sheila he will lose her.

After an extended nightmare, Sheila decides to tell Tommy about her relationship with Jude, and he responds by faking indifference. As the election approaches Sheila announces her plan to move back to her home-state when the election is over in order to find her mother, which finally makes Tommy follow up in secret on tracking her mother’s grave down. Meanwhile, Sheila and her rival CLAUDE become involved in strange “guerilla” campaign tactics, which eventually culminate in Jude to getting beat up. Angry at Sheila, Jude seduces Tommy. Sheila sees them asleep together, and leaves the apartment. When she returns that night they have an extremely tense dinner, and Sheila storms off. Tommy chases after her, and tells her that he knows where her mother is. She is momentarily thrilled, then realizes that he has known for weeks. She tells Tommy that she is not a hippy, which hurts him.

The election is the following day, but all Sheila cares about is finding her mother. After Obama is elected, Tommy becomes worried that Sheila will hurt herself, and races to find her. Sheila is at her mother’s grave, and we hear a crescendo of sounds from the past ending in a gunshot. Tommy arrives, shouting her name in terror. Sheila looks up, and tells him that “Sheila” was her mother, who committed suicide, perhaps from disillusionment over the sixties. Sheila realizes that as betrayed as she feels by Tommy, she does deeply love him and they embrace.


Also, I have already shot most of the movie so the story itself is relatively inflexible. Although that being said, I am doing some reshoots as we speak, to I can actually tweak things a little.

Thanks so much in advance!!! :)
 
It seems to me your logline is incomplete. She wakes up and searches, but what does she find?

From the synopsis, she finds that not much has changed in human nature in fifty odd years, huh? :lol:

Just curious, but is your protagonist black? General acceptance of having our President in office despite his racial heritage is much greater today than it would have ever been in the 60s. There is potential for considerable drama and wide character/story arc there. Was she an equal rights activist in the 60s? Or just "peace, free love, and brownies"? But, then she's not a hippy, so the logline is misleading (perhaps intentionally?), in which case the "hook" of a hippy from the 60s embracing the Obama campaign trail doesn't get paid off. I know, your story is inflexible, but my writer brainstorm just jumped into high gear when I thought of the story possibilities.

From your synopsis, the election is ambiance and the real story spine is the love connection.

So, let me see if I got this straight, Sheila's "mom" is actually "Sheila"? So she's there at her own grave from when she killed herself in the 60s? Paradox. If she's dead, she can't be alive standing over her grave. Unless she's a ghost...
 
Thanks so much for the feedback! I'll work on the logline, I keep wanting it to be a teaser not a summary...:rolleyes:

My protagonist is white, and in the 1st scene I imply that she was involved with campus war protests, but she is not particularly politicized on racial matters. Actually, Tommy is an ethnic studies grad student who knows more about civil rights then Sheila. Soo, I'm trying to address race issues in the story pretty extensively although it may end up being a huge/dumb/overthink-y misfire. One of the things that I'm trying to play with in the movie is how different mediums/film technologies affect the way we remember the past so I'm incorporating some still images into psuedo-flach backs and, again, possibly misguidedly, having Sheila and Tommy do "youtube" segments using archival footage that deal with ways that racial prejudice have affected America, and what "whiteness" means to young liberals who are deeply invested in Obama's election

How that ties back to the main spine (which is Sheila and Tommy's relationship) is that Tommy as a character has a real need to actually believe that Sheila is from the sixties, because he is able to find more political inspiration from the past then he is from the present.

I wasn't sure if I should put the above info in the synopsis? it's kinda a sub-plot/side story but it does tie in really heavily to Tommy's motives.

Yeah, I see that I DEF need to make the end more clear... Basically "Sheila" is not a hippy. Her mom (the actual Sheila) killed herself shortly before the start of the movie. "Sheila" thinks that was in part because of despair that her mom felt over the future not turning out how her mom imagined it when she was a "flow-child." So "Sheila" decided to be a hippy - essentially like Tommy she sees more hope in the past then the future. I (hope) I foreshadow this in the movie itself, in addition to just being more clear should I also try to foreshadow this in the synopsis?

Blah, sorry. Concise explanations are not one of my strong suits... :no:
 
Taglines are teasers, loglines are summaries.

The logline doesn't scream "READ ME". Some info I think the logline should have is the protagonist, antagonist, the problem and the stakes.

As far as the synopsis. It has a lot of information not necessary to understanding what the story is. I was listening to an interview the other day with a screenwriter, and his pitch process is what he calls the 1,3,10 sentence pitch. He starts off telling the story in one sentence, usually revealing the theme. Then he starts over and tells the story in 3 sentences, giving a short synopsis. Then he starts over again giving a 10 sentence description beginning to end. He said most of the time he never even starts giving the 10 sentence portion of the pitch because the studio already knows if they want it or not, he developed this strategy from being a producer for a long time and listening to thousands of pitches. It was a surefire way to keep their attention. I suposse you could adapt the same strategy to your synopsis, that way you will figure out what parts are actually important to the actual story and not get caught up on the little details.

-Casey
 
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First impressions from your logline:

First sentence is a grabber! Sounds like the makings of a great comedy!

Second sentence...so much for the comedy. If I were a potential reader I wouldn't go any further.

The above is not meant to imply that the movie wouldn't be good as a non-comedy, but you don't sell it with that logline. "She searches for her mother, politics, and love?" That sounds rather dull. Why would I want to watch that? And how exactly does one search for politics, btw?

Where is the conflict? There is conflict, right? It's the essence of drama. You may well have answered that question in the synopsis; I didn't read it because a script reader at a prodco likely wouldn't.

The logline should be worded in such a way that I want to read the synopsis -- and the synopsis worded so intriguingly that I simply must read the script.

Sorry if the above comes across as harsh. I'm not trying to insult your work, just give you an idea of what you're up against. The WGA registers many thousands of screenplays per year. That's some formidable competition to have to rise above. I know; I'm out there competing with them as well.

Here's a log line for a screenplay I wrote several years ago. That screenplay ultimately made it to 2 major studios and was rewritten in collaboration with a development executive at Lightstorm Pictures (the company that made Avatar):

When a daring rescue at sea ends in disaster, the lone survivor, a young Coast Guard officer, must wrestle with his guilt as he struggles to piece together the mysterious circumstances surrounding the tragedy.

Now, that movie may or may not appeal to you personally, but the idea is to look at the construction of the log line (full disclosure: I am by no means an expert! :) ). It's only one sentence, but each word was carefully and specifically selected to paint a picture.

The first half of the sentence is the hook: "A daring rescue at sea ends in disaster..." Your hook is equally strong: "A 1960's hippie mysteriously wakes up in 2008..." So far, so good.

The second half is the follow-through. You'll note there are 2 implied conflicts: the protagonist "wrestles with his guilt" (inner conflict) and "struggles to piece together" (outer conflict). There is also the word "mysterious" which implies that there may be yet another undisclosed conflict.

You say that concise explanations are not your strong suit. I'm sorry to say you must make them your strong suit. Like Casey said, you have a maximum of about 4 sentences before the listener has made up his/her mind about your story.
 
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Wow! Thank you guys so much for the great feedback... so focusing on the logline, is this better?

After she mysteriously wakes up in 2008, a girl claiming to be a 1960’s hippy must find a way to live in an alien world. She forms an emotionally overwhelming friendship with a wannabe student revolutionary, but in order to keep this relationship, she must overcome her relentless desire for a home that no longer exists.

I tried to get a full summary, and get more in the 2nd half.

BUt now, it's long. Siiiigh... And yeah, I totally agree 2001 that I have GOT to get a knack for concise writing. Logline/summaries aside I think it's pretty critical that scripts are written in the most concise/efficient way possible.
 
It is more interesting -- I'd be more likely to check out the synopsis. But it's also more confusing. You added the phrase "claiming to be", which implies that she may not actually be a 1960's hippie, in which case is she insane? If she really is from the Sixties then leave it the way you had it. If she isn't, then that becomes the most intriguing part.

The second half, while improved, still doesn't thrill me. Is her only conflict internal? If so, this is going to be a tough script to sell because it's a character study -- not that character studies are impossible to sell (Forrest Gump, Good Will Hunting), just more difficult. Adding the relationship to the modern wannabe revolutionary is a definite improvement, but the phrase "emotionally overwhelming" is a little vague when read out of context.
 
Yah, she's not actually a hippie, basically she's play-acting it because her mom committed suicide before the start of the film, which sheila thinks was because of disillusionment of the "promise" of the 60's.

What I was less then brilliant on when I wrote the script is that the spine story conflict is an internal and a character study, and most of the external conflicts belong to the story's subplots... the (sorta) good news is that I don't have to actually sell the script, I've already made the movie I just need a strong logline and synopsis because I am working on dealing with some small-scale post financing.

Thanks again so much for the feedback!! I am going to work more on amping up the second half
 
Take all the advice you can get. Screenwriting is hell. Writing for Hollywood is the Devil. I spent 4 months writing my very first script.

I set it aside and wrote something more simple which turned out to be my first film. I came back to my first script to give it a fresh read...

and threw it in the garbage.
 
That's part of the confusion. Your main character is searching for someone with the same name as her. When you say "actual Sheila", who is your main character? What is her real name? Sounds as though she adopted the name and persona of her mother based on how the synopsis is written. But who is she really? That could be character arc. She's not like her mom, but pretends to be like her mom, and then discovers she's more like her mom than she thought. But I digress.

So in the synopsis you should definitely make it clear that "mom" Sheila and your protagonist Sheila are not the same character, otherwise readers would come to the mistaken conclusion that she's the one who died and woke up in modern times. Either that, or some poor sap is channeling the spirit of the mom who still roams the spiritual plane of Earth, unable to cross over thanks to suicide (ala an episode of Ghost Whisper). And if it's confusing on the page, chances are it would be confusing to an audience.

And you don't need her name in the logline. You can simply refer to her as "A freaked out hippy girl from the 60s".

For instance, "After the traumatic suicide death of her mother, a freaked out hippy girl from the sixties wakes up in modern times and falls in love with a gay man hot on the presidential campaign trail of Barack Obama."

There's a whole lot of drama promised by that logline.
 
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Ouut of curiosity, this was my original mini-synopsis which in a way I think still kinda captures the tone I'm going for... In y'alls opinion is this better or worse then the stuff I have above?

"If you can remember the 60's you weren't there."

Sheila can remember most of the 60's but her recollections come to a screeching halt in May 1970 when she is shot in a student rally. She wakes up alone in May 2008, and is forced to wrestle with the history, politics, and values of a globalized neo-capitalist post-modern world. In other words, get a job and deal with a really awkward love triangle.
 
Ouut of curiosity, this was my original mini-synopsis which in a way I think still kinda captures the tone I'm going for... In y'alls opinion is this better or worse then the stuff I have above?

"If you can remember the 60's you weren't there."

Sheila can remember most of the 60's but her recollections come to a screeching halt in May 1970 when she is shot in a student rally. She wakes up alone in May 2008, and is forced to wrestle with the history, politics, and values of a globalized neo-capitalist post-modern world. In other words, get a job and deal with a really awkward love triangle.

A logline MUST say what and who the story is about.

These are loglines (From Karl Iglesias - Writing for Emotional Impact):

"A teenager is mistakenly sent into the past, where he must make sure his mother and father meet and fall in love, or else he won't exist in the future."
Back to the Future

"A group of ex-psychic investigators start a commercial ghost extermination business in New York City."
Ghostbusters

"Kidnappers nab the wife of a rich man and threaten to kill her if he doesn't pay a ransom, but he's delighted, and urges them to go ahead!
Ruthless People

If a studio exec ask you, "What's the one-line?" what are you going to say? He wants to know what your movie is about in one sentence. That's the logline.

Pick up the book "Save the Cat" by Blake Snyder.
 
I get the impression if anyone were to offer this logline; “A
group of ex-psychic investigators start a commercial ghost
extermination business in New York City.” The reaction would
be, It seems to me your logline in incomplete. They start a
ghost extermination business, but what happens?

The other two are excellent examples.
 
I get the impression if anyone were to offer this logline; “A
group of ex-psychic investigators start a commercial ghost
extermination business in New York City.” The reaction would
be, It seems to me your logline in incomplete. They start a
ghost extermination business, but what happens?

The other two are excellent examples.

You're right. The completed logline would look like this.

"A group of ex-psychic investigators start a commercial ghost extermination business in New York City. Starring Bill Murray, Dan Aykroyd, and Sigourney Weaver." ;)
 
I get the impression if anyone were to offer this logline; “A
group of ex-psychic investigators start a commercial ghost
extermination business in New York City.” The reaction would
be, It seems to me your logline in incomplete. They start a
ghost extermination business, but what happens?

The other two are excellent examples.

Talk to Karl. That was an excerpt from his book. :lol:

These were examples he used when illustrating the "hook" in loglines. The hook was "start a commercial ghost extermination business". What happens? They save the city from a big twinkie. Anything beyond that would spoil the plot, I think.

Although, technically, what happens is implied. They exterminate ghosts for profit.

More from Karl (I've posted this before):

(Title) is a (genre) about a (description of hero) who, after (inciting incident), wants to (outer goal) by (plan of action). This becomes increasingly difficult because (obstacles and complications).

Or...

(Title) is a (genre) about a (description of hero) who must (outer goal) or else (dire things will happen).

Examples:

(Rain Man) is a (drama) about a (slick, angry salesman) who, after ( his father dies), wants to (get his inheritence) by (manipulating his brother). This becomes increasingly difficult because (his brother is autistic).

(E.T. The Extra Terrestrial) is a (fantasy) about a (lonely boy who befriends a stranded alien, and) who must (help him get back home) or else (the alien will die).
 
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Thanks VP! I'll def check out Save The Cat

Okay, I promise that after this one I will go back to beating my head against the wall by myself, but is this any better?

After she mysteriously wakes up in 2008, a girl claiming to be a 1960’s hippy struggles to connect to the modern world, but finds she must chose between desperate attachment to her now-dead mother and her growing love for a gay wannabe radical.
 
^^

I think maybe you could eliminate the first part before the comma, assuming you want it to be a contemporary story. Other than that, looks pretty good. Kind of a mouthful, but still good.
 
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