But with some work, you can tighten this further without losing the essence: In order to restore the power of the Roman Senate and avenge the murder of Marcus Aurelius he will have to fight and survive as a gladiator and ultimately confront Commodus.”īecause we have two sentences, it is not the ideal logline. “The brave General Maximus, heir to the throne, is stripped from his powers and made a fugitive slave by his arch rival Commodus. I found this for Gladiator, which is a perfect example of the above: “Protagonist’s main character trait + Protagonist’s main function + main story conflict + central question + Antagonist or forces of antagonism + Protagonist’s goal and arc” The Unknown Screenwriter (Unk) has a far more useful definition: It is a deliberate action by that character, therefore it can not qualify for a strong inciting incident. ‘A teenage girl runs away from home’ is most definitely NOT a ‘starting event’. Not only is it confusing, it is plain wrong.
The writer of this statement should not give advice to filmmakers. In this case, it gives us the starting event, implies further events and states the protagonist’s predicament.” “This sentence is one way to describe what happens in Somersault. There may be some sort of an inner journey but that is not enough for a successful film. If this is the best logline possible for this film, the film does not have a story. “For example, here is a one sentence plot premise for Somersault: “A teenage girl runs away from home, hoping to find herself through love, but the people she meets are as lost as she is…” Do you know what a story’s ‘key event’ is? I don’t. This definition is – to say the least – problematic. This one sentence should give the most concentrated version possible of the story, or at least its key event.”
“filmmakers are often asked to supply a one sentence version of their film story. It is not really a one-paragraph synopsis either.
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