  Drama
This week: Edited by: Turkey DrumStik  
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Sometimes, we get so wrapped up in our writing we forget what we were writing about in the first place. Ever had that happen to you? Maybe you need a little something to help you focus your writing: a logline.
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This past spring, I took a creative writing course, which was needed so I could take a couple upper division writing workshop courses that caught my eye. To me, 16 weeks was way too short of a time span for such a class, as Professor Hall provided an abundance of information and techniques that helped me hone my writing. One of the techniques he introduced was using the logline. Now in my previous issue, I addressed the use of loglines for screenplays. In the class, Professor Hall showed us how to create loglines for short stories.
So what can a log line do for prose forms of fiction? It helps a writer summarize the main conflict of the story. This can be helpful for any length of story, whether it's flash fiction or even a novel. Sometimes, we become so enthralled with adding complications that we write our characters (and sometimes ourselves) into a corner. Sure, additional complications increase the suspense and boost the reader's interest in the characters. Too many complications, though, can send a once coherent story spiralling in a thousand directions. You could end up putting your protagonist in a tricky situation that, plot wise, may be impossible to work through. Such impossible situations can place writers in a position to either give up on the story or make the author resort to using deus ex machina-esque techniques that make no logical sense in the general plot. Log lines, essentially, serve to remind the writer what the main objective is of the story. Do log lines change? Unless you want to keep the same characters but change the overall conflict, I wouldn't recommend playing with the log line too much. Otherwise, you'll wind up way confused.
Now what does a log line look like? Obviously, it's only one sentence in length, but that sole sentence can be a decent length. If you want, you can make it longer than the 90 characters alotted for the brief descriptions of your items.  Professor Hall strongly recommended using the word "struggles" as the principal verb in the log line. That may sound a little constricting, but it does work well when you first work with log lines as a way to focus your story. After writing a few log lines, you are free to tinker with verbs to fit all sorts of general conflicts for a story. After all, not everything is a struggle.
For me, using log lines is a very new concept, but it has already helped me to maintain focus on one work in progress (which I hope to have in my portfolio by the end of the year; yes, I am that far behind.). Here's the log line for that piece.
A photographer recovering from debt struggles to choose between advancing her career and protecting a wildly popular Olympic swimmer.
Good log lines provide some detail about the protagonist and his or her conflict. Be careful not to divulge too much detail, though, as log lines should not turn into sentences resembling miniature paragraphs. When we had this exercise in class, I was having trouble deciding where to go with this story. I had trouble deciding how to end it, what to name my characters, and how my protagonist ended up in debt (among a laundry list of plot and technical issues). After writing this log line, I remembered what my main conflict was, something that got lost while I tried to juggle details and find suitable complications to throw at my beleaguered protagonist. I wasn't finished with the first draft when we completed the log line exercise, but I found continuing work on the draft that much easier to continue. So, if you're feeling a little lost on a piece, write a log line, even if you're not finished with a draft. It just might give you an extra mental burst to get the job done.
Until next time,
(sig courtesy of nextmrsgoins |
Have an opinion on what you've read here today? Then send the Editor feedback! Find an item that you think would be perfect for showcasing here? Submit it for consideration in the newsletter!
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No one sent any log lines this month, but the feedback keeps rollin' in for scripts. Thanks, guys!
From Silver is 2 to the 5th Power  : Hey! I didn't know you were doing newsletters about scriptwriting! I wish I'd known...this was a great newsletter about screenwriting, I love it. I do have to say, however, that when you say not to put too much emphasis on camera angles, that's based on the assumption that they are not directing it themselves. For a writer/director, you have more leeway. You also left out POV shots. But I'm just glad that someone is addressing screenwriting in the newsletters. Great work! I would submit my own screenplay to be featured, but it's unfinished at the moment.
Hey, Silver! Yes, those who are writing and directing their own scripts do have more leeway, but for some people, that dual role (so to speak) is a luxury. We may see more of that, though, if Hollywood films continue to become less and less prestigious and independent films become a more appealing option for those like to control the development of their films. As for not including POV shots, I didn't want to drag the newsletter straight into eternity by listing every single shot known to mankind. That does, however, give me an idea for a new handbook.  Glad you enjoyed the newsletter!
From phil1861: Hey E, one thing I wanted to point out is that one need not be confined by the thought that script writing is only for those who whish to make money. Knowing the shots and other film minutia can come in handy when writing even for one's self. I'm a control freak myself and everything I write I direct as well; for who better to know the insights of a mind than that same mind? Inde film may give someone that chance to write then direct something one day. Script writing has been a fun distraction from the other forms I use as it frees the mind to wander a bit.
Funny you mention that, Pookie, as I just mentioned that in my reply to Silver.  Still, if a person really wants to write and direct, they better be willing to set their delusions of fame and grandeur aside, because even if a movie is well-written and well-directed, the biggest pinch will be advertising. That gives me an idea for an article, actually. See why I love feedback? You make me think up new stuff for my ten mile long to-do list! One day, writing a screenplay for kicks will make it onto the list. Maybe we all need a little encouragement to do just that.
From scribbler : You know what I just thought of? I've been saying the plays kill trees but really so does any written work. Most Books are well over 100 pages but this never occured to me as killing trees because it contributed to peoples enjoyment. Then I thought to myself, are plays not enjoyable? So you see, with my silly little comment I seem to have missed the point haha. opps! As always I enjoyed the newsletter.
That's a very good point, Scribbler, and thankfully there have been some innovations in this department. It will take some time before ezines wield as much influence (and yield as much credibility as) print publications, but an increasing number of offsite writing contests accept electronic submissions for most types of written works (poetry, articles and short stories). I do not see many signs of electronic submissions for scripts, though, but at least there is some headway being made in preserving our natural resources. Of course, we still have to watch out for the numerous problems associated with technology (server crashes, dying hard drives, hacking, etc.). Maybe one day scripts can be submitted via compact disc (or electronic media) to agents, studio executives and
various contests.
From arrowwrites: Although I'm behind in reading my newsletters, I have recently read several about screenwriting. While I have never considered screenwriting, my son writes his own screenplays for his short films. When "DaVinci Code" first came out, I read an interview with Dan Brown about how pleased he was with the way the film turned out. He thought at first that he would do the screenplay himself. Since it was his book, he figured it would be easy. Many hours later he had a screenplay that would equal 15 hours of film and he had only covered the first two or three chapters. He discovered a new-found respect for screenwriters.
That's interesting to hear, arrow! From what I've seen recently, adapting a screenplay is something of a crapshoot, and it can take a very long time for a script to form. That said, I'm surprised they were to come upwith a script for the wildly popular book at all. I personally feel they should have taken more time developing the script. However, with some previously written material (namely short stories), a script can be formed in a year or so and be made into an award winning movie. Brown's comments serve as an excellent reminder that screenwriting is definitely in a class of its own in the general realm of writing. I'm glad you shared that comment with us.
For the next newsletter, I'd like to see some log lines from you the reader(s). Just send a log line from a work in progress or even an already posted item. I'll feature them in the next newsletter and even send some gift points your way.
And if you happen to miss or misplace a newsletter, feel free to stop by "The Drama Box" [13+]. |
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Drama: July 19, 2006 Issue [#1153]
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