Tag Archives: logline

September 2018 – Read the best of FEATURE FILM Pitches and Loglines

Feature Film: Uniforms (formerly Machismo, Machisma) by Maja Ramirez
https://storypitches.wordpress.com/2018/09/07/feature-film-uniforms-formerly-machismo-machisma-by-maja-ramirez/

Feature Film: CADENCE OF THE BATTLE CRY by Brandon Gillum
Feature Film: CADENCE OF THE BATTLE CRY by Brandon Gillum

Feature Film: HOLY COWARDS by Stephen Boncella
Feature Film: HOLY COWARDS by Stephen Boncella

Feature Film: THIRTY DAYS OF RED by Geraldine Solon and Anthony Guilianti
Feature Film: THIRTY DAYS OF RED by Geraldine Solon and Anthony Guilianti

Feature Film: MARY CASTERS by Mark Mackey
Feature Film: MARY CASTERS by Mark Mackey

Feature Film: The Princess Bride II: The Ransom of Hollyhock by Richard M. Renneboog
Feature Film: The Princess Bride II: The Ransom of Hollyhock by Richard M. Renneboog

Feature Film: WHERE KOMAINU CRY by Frank Baruch
Feature Film: WHERE KOMAINU CRY by Frank Baruch

Feature Film: THE FRUIT BRIGADE by Dea Divi
Feature Film: THE FRUIT BRIGADE by Dea Divi

Feature Film: Casting the Runes by Felice Picano
Feature Film: Casting the Runes by Felice Picano

Feature Film: One Over The Eight by Brock Young and Kirk Lansdon
Feature Film: One Over The Eight by Brock Young and Kirk Lansdon

Feature Film: Samantha Rutledge PI, A Killer Case by Iannis Aliferis
Feature Film: Samantha Rutledge PI, A Killer Case by Iannis Aliferis

Feature Film: Dark Side of the Street by Niksa Maric
Feature Film: Dark Side of the Street by Niksa Maric

Feature Film: SERIAL DREAMING by Ross Lang
Feature Film: SERIAL DREAMING by Ross Lang

Feature Film: MEAT by Chima Idigo
Feature Film: MEAT by Chima Idigo

Feature Film: PRESERVATION by David Kline
Feature Film: PRESERVATION by David Kline

Feature Film: HELL ON EARTH by Daniel Cook
Feature Film: HELL ON EARTH by Daniel Cook

Feature Film: Rich Land by Matt Scafid
Feature Film: Rich Land by Matt Scafid

Feature Film: MAVERICKS by Valeed Cheema
Feature Film: MAVERICKS by Valeed Cheema

Feature Film: SHOW, DON’T TELL by Dawn Brown
Feature Film: SHOW, DON’T TELL by Dawn Brown

Feature Film: SEA FOOD by Luis Ribes
Feature Film: SEA FOOD by Luis Ribes

Feature Film: Diaspora by Joe Aloisi
Feature Film: Diaspora by Joe Aloisi

Feature Film: MIRACLE MAN FROM HOMELESS TO HOLLYWOOD by Glenn Gannon
Feature Film: MIRACLE MAN FROM HOMELESS TO HOLLYWOOD by Glenn Gannon

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2017 – Best of BIOGRAPHY Feature Film Screenplays

Read the best of BIOGRAPHY movie pitches and loglines for 2017:

ROCK BOTTOM, by Brian Carney

SUWANNE WARRIOR, by Michael McGuigan

JOBS – THE ENTREPRENEUR, by Arnab Mitra

THE EYES OF THE LION, by Cindy Kong

LEIV EIRIKSSON, by Magne Hovden

NEW AGE MESSIAH, by Jay Johnson

THE VENTRILOQUIST SPEAKS, by Meike Fromm

CHRIS AND MEGAN, by Shane Smith

BOY WITH VISTA, by Nelson Clark

AIRSHIP, by Ivo Ivankovich

A HAREM BOYS SAGA, by Bernard Young

DEFEATED AT GOD’S HAND, by Natia Chikovani

HOYEN: HOYEN PARAPSYCHOLOGY, by William Wang

BROKEN PIECES: THE MATTHEW TAYLOR STORY, by Frank Floyd and Matthew Taylor

MACHINE GUN, by Ian Patrick Williams

BOGIE AND BACALL, by Helise Flickstein

YESHUA, by Edmund Jonah

FOUR NEGO GIRLS IN A CHURCH, by Phillip el Hardy

LONG HORIZON, by Sue Monkress
THE GIRL WITH THE RAINBOW, by Brian N. Young

BUXTON, by Linda Bosso and Karen Kenyon

ABBEY ROAD, by Salvatore Cesarano 

CATCH, by Jerry Nield

THE REDEMPTION OF JOHN PARKER, by John Connell

WILDE ABOUT OSCAR, by York Davis

THE CHEVALIER, by Shannon Blatt

MY LIFE FROM TRAGEDY TO DESTINY, by Twana Lawler

VIDEO PITCH: TYPHOID MARY, by Dolores Rogers

THE THIRTY-NINTH MAN, by Dale A. Swanson

ANNE MARY AND CALICO JACK, by Robert D. Miles and Leslie S. Mitts

TO DIE IN TENNESSEE, by VerLynn Kneifl and Laurie Larson

BRUCE THE CHALLENGE, by Nicholas Michael Catello

LISZT AND CHOPIN IN PARIS, by John Mark

VIDEO PITCH: LUDLOW by Bradd Hopkins

GOD’S WAR, by Zondac Gibson

THE WRIGHT WAY, by Martin Hepton

THE FOUNDERING, by Dawn Sutton

STELLA! A LIFE IN ART: A BIOGRAPHY ON STELLA ADLER, by Sheana Ochoa

1921: THE WAR AGAINST MUSIC, by Ron Graner

TYPHOID MARY, by Dolores Rogers

THE MAESTRO, by H. Reeves

SANDS OF LANIKAI by Greg Blair

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Read the BEST of NEW TV SHOW Loglines from around the world.

Read the best of TV SHOW loglines from around the world: 

CARNIVAL OF SOULS, by Jonathan Baltzly
https://storypitches.com/2017/09/12/crimedrama-tv-show-carnival-of-souls-by-jonathan-baltzly/

LOVE YOU TO DEATH, by Xavierie MBangtang
https://storypitches.com/2017/09/12/mysterysuspense-tv-show-love-you-to-death-by-xavierie-mbangtang/

SERIAL, by Trevor Abekah
https://storypitches.com/2017/09/12/action-packed-thriller-tv-show-serial-by-trevor-abekah/

PAWNS, by Monti Issar
https://storypitches.com/2017/09/12/thriller-tv-show-pawns-by-monti-issar/

ALPHA, by Raymond Gross
https://storypitches.com/2017/09/12/actionthriller-tv-show-alpha-x-by-raymond-gross/

PANACEA, by Brian Coughlan
https://storypitches.com/2017/09/12/thrillerdrama-tv-show-panacea-by-brian-coughlan/

LONDON UNDERGROUND, by Charlotte Taylor
https://storypitches.com/2017/09/12/thrillercrime-tv-show-london-underground-by-charlotte-taylor/

NIGHT WIND OF BAHIA, by Thomas Thorpe
https://storypitches.com/2017/09/12/mysterythriller-tv-show-night-wind-to-bahia-by-thomas-thorpe/

MISTAKEN IDENTITY, by Candice Timms
https://storypitches.com/2017/09/12/crimemystery-tv-show-mistaken-identity-by-candice-timms/

RANGERS PROGENITORS OF FREEDOM, by Timothy Kestrel
https://storypitches.com/2017/09/12/thrillerhistory-tv-show-rangers-progenitors-of-freedom-by-timothy-kestrel/

Read best of NEW COMEDY Stage Plays Loglines from around the world.

Scroll through and read the best of NEW Comedic Stage Plays from around the world. 

THE PATRON SAINT OF DEAD DOGS, by Katie Grotzinger
https://storypitches.com/2017/09/12/comedy-stage-play-the-patron-saint-of-dead-dogs-by-katie-grotzinger/

ARTHUR HOLDEN, by Arthur Holden
https://storypitches.com/2017/09/12/redemption-comedy-stage-play-battered-by-arthur-holden/

SCARY SCARY NIGHT, by Michael Lunsford
https://storypitches.com/2017/09/12/murder-comedy-stage-play-scary-scary-night-by-michael-lunsford/

HOUSEMATE HASSLE, by Beth Fine
https://storypitches.com/2017/09/12/courtship-stage-play-housemate-hassle-by-beth-fine/

PRAYERS, by Ken Pisani
https://storypitches.com/2017/09/12/religious-comedy-stage-play-prayers-by-ken-pisani/

WHATEVER POSSESSED ANNA, by Phyllis Heltay
https://storypitches.com/2017/09/12/2-hander-stage-play-whatever-possessed-anna-by-phyllis-heltay/

ROMEO CHANGE, by Barbara Blumenthal Ehrlich
https://storypitches.com/2017/09/12/dark-comedy-stage-play-romeo-chang-by-barbara-blumenthal-ehrlich/

YIASSOU MERYL, by Gregory Cole
https://storypitches.com/2017/09/12/musical-farce-stage-play-yiassou-meryl-by-gregory-cole/

UNWANTED, by Doug Robbins
https://storypitches.com/2017/09/12/fantasy-comedy-stage-play-unwanted-by-doug-robbins/

DANCING WITH DINOSAURS, by Bob Canning
https://storypitches.com/2017/09/12/farce-stage-play-dancing-with-dinosaurs-by-bob-canning/

CUPIDDEOROS TRIUMIRATE AND PHILOSOPHY, by Cupideros
https://storypitches.com/2017/09/12/romantic-comedy-stage-play-cupidderos-triumvirate-and-philosophy-by-cupideros/

A THOUSAND VARIATIONS ON A LIE ONCE TOLD, by Stacey Lane
https://storypitches.com/2017/09/11/comedic-drama-stage-play-a-thousand-variations-on-a-lie-once-told-by-stacey-lane/

WHAT’S UPSTAIRS, by Alice Shapiro
https://storypitches.com/2017/09/11/true-story-stage-play-whats-upstairs-by-alice-shapiro/

A FRIEND IN NEED, by Jimmy Keary
https://storypitches.com/2017/09/11/fast-paced-comedy-a-friend-in-need-by-jimmy-keary/

ABSALOM THE KING, by E. Thomalen
https://storypitches.com/2017/09/11/biographyhistory-stage-play-absalom-the-king-e-thomalen/

HAMLET DEAD, by George Schwimmer
https://storypitches.com/2017/09/11/tragedy-stage-play-hamlet-dead-by-george-schwimmer/

GOING SOLO, by Robert Gately and Drew Keil
https://storypitches.com/2017/09/11/agoraphobic-stage-play-going-solo-by-robert-gately-and-drew-keil/

Best of Short Film Pitches – November 2016

CLICK the LINK and read the best of NEW SHORT Movie Pitches for November 2016: 

FEED MY SHEEP, by Scott Ennis
http://www.wildsoundfestival.com/feed_my_sheep_by_scott_ennis.html

WAITED FOR JUSTICE, by Basil Williams
http://www.wildsoundfestival.com/waited_for_justice_by_basil_williams.html

LATE NIGHT, by Deepa Dharmaraj
http://www.wildsoundfestival.com/late_night_by_deepa_dharmaraj.html

PHSICHOVIRTUALITY, by Duca Simone Luchini
http://www.wildsoundfestival.com/phsichovirtuality_by_duca_simone_luchini.html

THE AMBER SANDS OF TEXAS, by Ana Antlitz
http://www.wildsoundfestival.com/the_amber_sands_of_texas_by_ana_antlitz.html

TV CONTESTSUBMIT your TV PILOT or TV SPEC Script
Voted #1 TV Contest in North America.
FILM CONTESTSUBMIT your SHORT Film
Get it showcased at the FEEDBACK Festival
writing CONTEST1st CHAPTER or FULL NOVEL CONTEST
Get full feedback! Winners get their novel made into a video!
SCREENPLAY CONTESTSUBMIT your FEATURE Script
FULL FEEDBACK on all entries. Get your script performed

October 2016 – Read the best of SHORT FILM Loglines & Movie Pitches

Click the link and read the loglines: 

ABIJAHS FAIRY TALE, by Barbara Bullen
http://www.wildsoundfestival.com/abijahs_fairy_tale_by_barbara_bullen.html

SURRENDER OR FIGHT, by Yves Bryant
http://www.wildsoundfestival.com/surrender_or_fight_by_yves_bryant.html

SOLSTICE, by Robin CL Jennings
http://www.wildsoundfestival.com/solstice_by_robin_cl_jennings.html

FOLLOW YOUR DREAM, by Vito la Giorgia
http://www.wildsoundfestival.com/follow_your_dream_by_vito_la_giorgia.html

ZULU ZULU ZOMBIE, by Abdul Malik and William Fuentes
http://www.wildsoundfestival.com/zulu_zulu_zombie_by_abdul_malik_and_william_fuentes.html

AN EVENTFUL PROPOSAL, by Karl Volkering
http://www.wildsoundfestival.com/an_eventful_proposal_by_karl_volkering.html

FREE LOGLINE SUBMISSIONS – Submit your story and showcase it on this network.

Submit your LOGLINE for FREE to this network.

A great way to increase your presence and get your story out to the world. This network averages over 90,000 unique visitors a day. Your logline will receive their own individual page, and linked from the various outlets on this network where many producers and agents venture. Then we will send you an email when someone is interested and you can go from there.

We will also promote your logline on our Social Network and make sure 100s of people see it right away when it’s up.


Send your logline with the relevant information:

Title of Story:

Written by:

Logline: (see below for examples on writing the best logline)

Genre: (choose one of up to five genres) Action, Adventure, Animation, Biography, Comedy, Crime, Drama, Family, Fantasy, History, Horror, Musical, Mystery, Sci-Fi, Sports, Thriller, War, Western (or, choose your own genre)

Type: Short Screenplay, Feature Screenplay, Mini-Series Script, TV pilot, Short Story, Essay, Novel, Play

WGA Registration Number: (if applicable)

Email your LOGLINE to:
loglines@wildsoundfestival.com

In the body in the email please add your logline information. The first logline is FREE. If you like to submit more than one logline, email us and we’ll come up with a fair arrangement.


OR, if you like us to do a video of your logline, we’ll peform it using a professional actor and promote it online on our site and popularYouTube channel. We promise that it will garner 1000s of unique hits.

Pay the $25 administration fee via paypal or credit card


Watch the Video Pitch: 

NOTE: If you submit your script to any of the screenplay contests, you receive another free logline page on this site.

LOGLINE BASICS

Brevity is an absolute necessity of creating a good logline. You should go through many drafts to make sure every adjective is the most perfect and evocative and above all accurate. Get out your thesaurus find the best words for the job. You can’t afford a single extra character.

Choose your focus carefully. You need to pinpoint the most important through-line of your story. What you pick must be dynamic: you need to describe action, conflict, challenge.

The easiest way to phrase your logline is to state the genre, an attribute of the main character, and what the character needs to achieve to meet a challenge. Of course, you may see your script as a slice of life or a series of vignettes or something else that doesn’t lend itself to a clear statement in this form, but attempt it.

For example:

“The Last Thing She Did” is a romantic comedy in which a ditsy writer struggles to overcome her reliance on a dead friend’s advice in order to meet a deadline.

Try to avoid generalities. You want to nail what makes your script unique, so don’t waste your time comparing it to previously made films. Save that for your marketing pitch.

Your logline doesn’t need to tell the ending of the story. It just needs to impel a producer or reader to make the effort to open it up. Show you have an interesting and unusual protagonist who must meet an unusual and interesting challenge, and you’re already ahead of the game.

So you say your script doesn’t fit into an easy category of genre or have a single or readily defined hero or heroine. That may be the way you think of your story, but another reader might have a different impression. Try describing the action of your script to a friend and see what shakes loose. It’s fine to know you’re written a masterwork that defies description, but you won’t have much luck getting it made unless you can find SOME way to explain it.

A Word about Plot and Character Vs Theme

The best loglines focus on character with an emphasis on the major conflict or challenge that forms the central arc of the plot. It’s good to include whatever details make your story the most unique: an unusual setting or antagonist for example.

You may be tempted to make your logline about the script’s theme instead but I recommend against this. Producers are interested in the practical matters of who, what, where, when and why. They are less interested in your philosophy on the nature of life or the specific demon that drives your hero’s quest.

In my opinion, the easiest way to write a good logline is in the form of:

[Film Title] is a [genre] IN WHICH a [protagonist] struggles to [challenge to overcome].

Problematic loglines often use passive language and the word about, which can find you expressing your intentions instead of the action. Something you want to avoid at any cost is a logline that focuses on how you intend the viewer to feel instead of what they’re going to see.

For example (don’t do):

“The Last Thing She Did” is a transcendent human comedy about the way we connect through laughter and memories.

Nice, but it doesn’t tell us a single thing about the script. We don’t know who the characters are, what it’s about, where it’s set, and we’re vague on the genre. When you use a logline, remember you are pitching your story to practical people who want to know if they can make your script into a film that they can sell. Save your beautiful writing for your dialogue, and your writer’s commentary