How to Grab a Producer's Attention in 15 Seconds -- Episode #2 of The Producer's Perspective
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- čas přidán 15. 07. 2014
- IN THIS EPISODE: We'll show you how to grab your ideal producer's attention in just 15 seconds. Plus, you'll discover a breakthrough follow-up strategy that leads directly to the deal.
Now that you understand WHY producers put up a wall around themselves, it's time to reveal the secret to breaking through that wall: Hook them with an extraordinary logline.
Most writers hate the logline, but they're missing the incredible opportunity it offers. You can open any door in the industry with the right logline. So in this video, Jeff explains what a logline is, what it isn't, exactly how to create one that will grab their attention, and when to know when you've found it.
But we don't stop there. You'll also discover the breakthrough follow-up strategy Jeff discovered while reverse-engineering the complete screenwriting process. When you master this simple approach, producers will be eager to work with you.
This may be the most important screenwriting video you'll ever watch, and it truly has the power to transform your career, regardless of what level you're currently at.
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the speaker is indeed a guru & very honest in sharing his expensive knowledge! salute
So... what are your job now after 3 years
Hp
Jeff, thanks for this wonderful video. It makes a lot of sense and very inspiring, too!
I have ideas and i have been writing not knowing anything about screen play or a log line or a synopsis. Cant thank you enough for these brilliant videos. I have got some sort of direction now thanks to you. Hopefully i can get you to be a producer for my first movie. Thanks a lot again. Brilliant and simple videos..
You are so write. I hate the logline because I sometimes don't want to give the secret or ending. But you are soooo right. Practice makes perfect as far as loglines I mean. Thanks, great advice.
Love this! I am not a screenwriter, but am working on a video to launch my company. I couldn't figure out how to tell my story in a compelling way, so this is incredibly helpful. Looking forward to hearing more. Thank you! :)
+Lauren Green, thanks for the comment! Keep an eye out for our upcoming 4-part series ("FAST Story Development"), as it will help no matter what kind of stories you're writing. And good luck with your company!
great video -- super solid advice -- can't just look at examples -- have to write dozens of loglines to get one that works -- writing requires humility -- even when get a script read -- agents, producer, director, distributor will ask for changes -- unless you're Woody Allen writing, directing, producing -- bless his heart
Terrific advice Jeff! Thanks!
I love these videos. Thank you so much for making these!
Thank you for watching them! (And thank you even more for letting me know you like them.) This was originally going to be a 19-part series. Unfortunately, we ran out of funds to make them all. If we get more people going through FAST Screenplay, we can continue making more free stuff, too. My goal is always to help as many people as possible for as little cost as possible. Be sure to subscribe in case we can resume it all... And enjoy your writing!
This is the best information about breaking through to Producer's I've ever heard. Thank you! From, the After Life Dating Service.
Thanks for your comment!
After Life Dating Service.... is this a comedy script? Or a real thing? haha... I want to make sure I have a date in 40 years, after my death! ;)
It really is . .isn't it. I like the focused and concise manner in which he speaks
What else could I possibly call you If not, a Brilliant, Human being! I appreciate your video. Because it just opened a door which I’d never thought about. Wishing you all the best and beyond and safety of all! I am a writer, and I have an amazing and inspiring script written, which is a true story, but I never thought to look at it in one sentence. You helped me finding the sentence in which I could see 272 pages.
I sincerely appreciate you!
Thank you so much for the extra information! I actually won a logline contest 1 year ago for one of my books!
Nice! Congratulations!
Great and informative video! Thanks!
Loved the recommendations. It made a lot of sense and was inspiring. Thank you very much for sharing.
Happy to help!
Great information! Thank you!
I took great comfort in knowing that I didn't have to create a marketable logline before I had a developed project in hand. Thanks Jeff. I'm enjoying the journey.
+Boomer Murrhee But you should start with a log line to focus your effort.
+SteveHovland I agree. However, the logline, in the beginning, keeps us on task, but as you go through writing, ideas spark other ideas so the logline after the story is finished could be vastly different. So loglines serve two different functions.
+SteveHovland, Actually there are 2 different kinds of loglines -- a story development logline (which does focus your effort, which we do in the Focus Phase of FAST Screenplay) and a marketing logline (which is what most people think of when they think of loglines (which we do in the Payoff Phase in FAST Screenplay when you're ready to market your work). They're very different, and should be done in very different ways. Trying to come up with a marketing logline during the story development phase is a waste of energy (and unnecessary because the script will change dramatically by the time you're ready to market it), and trying to market a story development logline will not get writers anywhere because it doesn't sufficiently use the promise/payoff dynamic.
This video is about the marketing logline and the "promise progression" it automatically initiates. Hope this helps!
This podcast is so inspiring. Thank you 🙏🏽
you nailed it bro.thanx
Ultra-mega cool. Thanks for your post.
very insightful and reality based beneficial information
You’re a great compelling presenter thanks for the info! Looking forward to hearing more.
Thank you! There are about a hundred hours of content on CZcams (not all as polished as this, but hopefully all as compelling). Enjoy!
LOVE THIS JEFF!
+David Breslow, thanks! Use it to good effect! :)
This is awesome thank you for posting
+GraceFaith Janet Thanks for the kind words! May you get a lot of mileage out of it...!
thank you so much sir whoever you are, never seen much more helpful video than this about seeking proucer attention.i guess which is the most difficult part in our(screenplay writers) life.
piyush sharma Actually, it only SEEMS to be the most difficult part. In truth, the most difficult part is writing a screenplay that WARRANTS a producer's attention in the first place. :)
But with effort, it can be learned. Keep at it, and hang in there. Thanks for your comment!
FAST Screenplay thanx sir.
love the videos. very great advice and easily understood.
Thanks! Please SHARE if you like them (it really helps us out). Keep on writing!
FAST Screenplay You're very welcome. And will share, of course. Keep reading!
Hi Jeff, thanks for the vid. Unfortunately I can't do your course right now though I could buy a couple of your books. I have a few questions for you I hope you can help with:
1. Where do I go to read your examples of loglines that you think are good ones with movies we might know so we can understand & in particular that show the 'character' part of the logline being done well?
2. Where is the best place to go to read more about the progression promise?
3. Where can I go to read more about how to effectively outline my idea into a plan?
Thanks for any help you can give me, have a great day :)
Hi +Gael Damianakis, well, what I've created is quite different to everything else out there, in part because looking at it from the producer's perspective, I saw a huge gap in what was out there. So the real answer to all 3 questions is FAST Screenplay. (Please note that FAST is not a "course" -- it's a comprehensive system that guides you through the creation and writing process. Kind of like a series of books that require you to interact in order to glean their insights.)
Regarding question 1, I don't like to use many examples (beyond what I've done in this video) because that then limits the writer's thinking to the boundaries of the example. You won't find your unique approach and the angle that is perfect for YOUR idea if you're trying to emulate someone else's unique approach to THEIR idea. That's not how creativity (or originality) work. The trick is to understand the underlying dynamics and principles of the job (e.g., creating loglines), and then try, test and tweak. In FAST Screenplay, I go into great detail about the 2 different kinds of loglines (the story development logline and the marketing logline; they are very different) -- and the steps that cover each of them are very detailed. I haven't found anything like it elsewhere, I'm afraid. Most of the stuff out there being taught on loglines sends you in the wrong direction, in my opinion.
Regarding question 2, the Promise Progression is an original concept I have developed myself. So anyone else who's writing about it has stolen it from me. :) So the only place to go to read more about it, I'm afraid, is the Payoff Phase of FAST Screenplay (although if you go all the way through FAST Screenplay, the system reveals ITSELF to be a Promise Progression, so you will have a living example when you're finished).
Regarding question 3, there are probably any number of online sources that can help you outline your idea into a plan. The problem is that they are detached from the larger process, so they tend to be focused on a specific story formula -- which may or may not be right for your story. The difference between those approaches and what I do in FAST Screenplay is that in FAST, the outlining process is built into the fabric of the system, so it's not just "outlining"; it's more like "growing" an idea organically out of the objective you're trying to achieve. This will be explained a lot more succinctly in the 4-part video series I'm working on at the moment for the CZcams channel called "FAST Story Development: How to Create Detailed Original Stories in 1 Hour." I am working on the graphics and animation at the moment (which takes forever!), and hope to have it uploaded in the next month or so. (I've been working on it for almost a year now).
So, I do regret that I can't give you more suggestions, and that everything points back to FAST. But to be honest with you, the only reason I have spent 6 years building FAST Screenplay is because it fills an enormous gap in what's available out there. I assure you, I would rather be making films than teaching screenwriting. If I thought there was something better, I would just point people there and focus on my projects... which is what I'll be doing once this is all finished. :)
Thanks for watching the videos, and let me know if you have any other questions. You have a great day, too.
Jeff
After 5 minutes, there is insight and thereafter some wonderful graphics. Great stuff! Definitely want to know from the 6 people who gave this video a thumbs down, what is the great stuff they are looking out for and where is it available.
Unfortunately, I don't think it's possible to make a video these days without getting some hate. Hopefully, that can be a lesson to all creatives: We will never please everybody. Just follow your passion and do the very best you can, and focus on those who connect with your message. :) (And thanks for the kind words!)
Hitting the thumbs down without providing meaningful criticism or an alternative approach is pretty useless. Anyway, good video. Thanks for sharing.
This is great content thanks for this :)
Thank you for taking the time to make all the great and informative videos you posted! I've learned a lot! I wrote a production-ready screenplay and my logline. I've received positive feedback from my peers as well. I live in New Mexico and my next step is to market it. Could you give me advice as to how to submit it to producers? (I was thinking of writing and mailing a query letter to the producer or the production company)
I'm pleased that you've gotten such great value out of the videos. Regarding how to submit it, though, that's a whole other ball of wax. I've actually mapped out a whole system for marketing your project that takes about a month to learn. The problem is that you need all the skills we cover throughout my system -- so it's not just a simple matter of giving tips.
For example, I very strongly urge (beg... implore...) writers to NOT reach out to producers until they've got a bona fide production-ready page-turner screenplay completed. And the truth is, in my experience, 99.9% of submissions are just not ready. Keep in mind, if you submit a fantastic IDEA that is not actually ready for serious consideration, there's nothing that will protect your idea. And if your script is not right for the producer you're submitting to, you're creating a situation that actually works against you. (I can't tell you how many times I've gotten excited by an idea only to discover that the story and script were totally unusable. It's the most frustrating thing in the world for a producer, and depending on how you reached out to them, can cause them to avoid looking at future work of yours.)
Note that every producer is unique, so there's no "right" or "ideal" way to submit to them. You have to find out how THEY want to be submitted to (or if they're even open to submissions (most aren't)). And then you need to create the specific strategy that is perfect for that one producer. Query letters are usually completely ineffective, although there are some specific tricks that can be used to make them work in some situations. That's why my approach is to guide writers through the complete process -- so that you understand how to get results in ANY situation. That way you can customize your marketing plan for each producer, with a minimum of effort.
Out of curiosity, you mentioned that you wrote a production-ready screenplay... Have you verified that? Because if so, then you already have the path to your sale. Simply connect through the network of people who have indicated that it's production-ready. If your "promise progression" is indeed solid (and your screenplay is legitimately production-ready), it's just a matter of reaching out. I speak from experience when I say fewer than 1 in 1,000 screenplays meet that criteria, so your tap that network.
Hope this helps!
Thank you for posting this, even if I am not writing anything that would could be made into a movie, it is a small hoppy that I enjoy.
My skills may only be enough to be enjoyed on a fanfiction site, but then again, I'm only 16 years old... but reading a positive comment about what you wrote, still feels good. So with the knowledge from this video, I could grab more readers attention, to get more feedback for my work.
Even if I would never earn any money for my work, it is enough for me to know that I could entertain someone with something that I wrote just for fun to keep going.
Brony McFlappjaw I get a lot of negative people saying you can't really do this, or that I'm giving people false hope -- but you must never ever listen to those voices. Anyone who tells you you can't do something is only telling you THEY can't do it.
If you're 16, start now. Believe in yourself. Do the work and make the effort to always improve. It will take time, of course. But you CAN do it, and if you persist, you WILL.
Thanks for your comment, and I wish you great success!
FAST Screenplay Thank you, for the kind words.
If I spent enough time writing stories, novels, poems and stuff, I would most likely get somewhere.
So far, it's a hobby, that I enjoy. And even if I can't live on writing one day, I could just earn a few extra dollars for coffee because I spent a few hours on my hobby.
And during my 16 year long life, I've been through over six surgeries, taken shots every night for 13 years, my right shin was pretty messed up when I was born.
I managed to do 100 push-ups in a row, 2 AM, Recieve the blue belt in Tae-Kwon-Do, and I have been one of the most athletic students in my class for my entire life...
But I believed in myself, and was able to achieve these things. Even though the number of scars I have is twice as high as my age.
Have a nice day.
You stick with your young...I got Faith in ya kid is gonna go far
Thank you so much for advices. :-)
Happy to help!
I just finished writing my first horror story. This really helped me a lot! Thanks!
Thanks! Good luck!
Impressive! Really! We might do biz! And---the little stick-figure cartoon (?) was so striking that it distracted me from listening to you! No problem: I shall have to watch it again! Great Stuff!
+dslamike96, thanks for the comment. If you like these videos, you'll love the 4-part series that will be released in the next few weeks.
+FAST Screenplay are you a producer? because I'd like to be a protegee
+SlickSociety, haha, thanks for the thought! Not really in a position to do that at the moment (a little too much on my plate already) but maybe one day!
I appreciate this.
Yes this video was not only very good but very helpful to me I'm a screen writer myself and I can use all the help I can get I know how to write interesting story's I just need to know how to improve my loglines and connect with the right people to get my story's into interested producers👍
Tobeme Always remember that blanket “here’s how to write a winning logline” advice is necessarily wrong. Your logline is a creative hook, unique to your project, and unique to your marketing approach. You could write the “best” logline in the world but if it’s not integrated with the rest of the marketing plan, it won’t be the best at all. Think of it this way: It’s like saying “I need to know how to improve my first page”. Yes, that’s an important focus, but it’s only one piece in a much bigger and more complex puzzle. Don’t think of it as a stand-alone. Hope this helps!
Thank you very much for such a great information. Greetings from South América . God b u
Thanks for watching!
I have subscribed and liked you're really good Mr.
Thanks!
I show my mom all my work. She is really excited about the movie. She want to know so much more.😆😆
Great video. What I have found out is producers (production companies) does not accept any unsolicited stuff (not ideas, stories, loglines etc) What is your opinion of breaking through that wall without an agent? Thanks
The only way to do it is to contact smaller producers. The bigger producers/production companies simply can't accept unsolicited material for legal reasons -- which is why they deal only with agents. The simple fact is that you have to get know people, and the only way to do that is to start smaller and build your way up. When you ARE ready (when you've gotten the agent, when you've built your network, when you get that meeting), this video explains how to grab their attention and draw them in (and then dazzle them with a story that exceeds their expectations).
I think a lot of hopeful writers imagine hitting the top level with their first project (or their third or fifth) without understanding why the ecosystem works the way it does. Breaking through the wall without an agent isn't really something I really recommend -- because I've spent 20 years on "the other side of that wall" and the idea of writers who are not ready breaking through that wall is incredibly disruptive to my schedule, my workload, my process, etc. Writers need to understand that producers will always need material -- just not necessarily at the moment you want to give it to them. That's why agents exist (and why the walls exist).
My approach is to help writers first build their skills, and then build their resume (with a produced film that actually opens doors), and then break through the wall that way -- by demonstrating value rather than cold call sales. I hope this helps!
Great! Thanks for answer! I am actually producer as well and I have representatives etc, I know how to deal with the wall as well. But it is alway great to learn other professional view point. Thanks for Missing Ingredient, I have read it this morning! Very on point! You are doing a great job and I think we can collaborate sometimes to utilize my public. They would be happy to know about you I think.
(3:30) LOL. Kudos to the animation guy.
+Eddington Walker, that'd be me. Thanks for the shout out.
Thanks a lot
Happy to help!
Thank you, Jeff - I deleted it and believe it is deleted.
Great video! Can anyone tell please me- can logline be patented with the screenplay itself? Thanks.
+Алан Танделов, no unfortunately you can't copyright a logline -- it's too short. Ideas are not copyrightable... only the expression OF those ideas. The logline is legally considered to be only the idea.
+FAST Screenplay thank you so much for the answer
That was absolutely amazing, thank you!
I'm working as a film composer. I don't have a screenplay, but knowing how a producer thinks is extremely helpful. *Two Thumbs Up*
Thank you!
-Stephen Segarra
This is about writing a screenplay before the logline, but what about a published book, would it be ok to sell the story with a logline and synopsis without a written screenplay?
Maureen Cunningham Photography Producers optioning books is a different topic, and not really what I focus on, since my aim has been to create original films, rather than adapted works. Generally, you'd still want a logline to capture their attention, but be sure to coordinate with your publisher, as they may have a strategy in place already.
How do you find contact info for a producer or actor's agent?
I decided to give a visual because I know I'm not experienced with writing scripts but wanted to express what I was thinking for a movie concept. I can write but I think I'm better at visuals.
I went to a pitchfest about a year ago...log lines are easy. But it really is hard to get the attention of producers and directors. I'm just writing the whole script now in the correct format...I'll probably get something out of a finished script rather than trying to win the attention of producers
goe5 Be sure to check out Episode 1 (czcams.com/video/r01B6mPXMjU/video.html) for the reason why it's "really hard to get the attention of producers and directors". It's actually not all that hard -- it's just that most people are either not ready, or they're going about it all wrong.
You mention that you'll try to get something out of a finished script -- and actually, that's a given! If you don't have a finished script (that is *extraordinary!*), don't even bother reaching out to producers; they can't do anything with weak scripts or half-baked ideas.
Good luck!
Hi Jeff ,been waiting along time to tell my story maybe now people will be ready for this one true story ,l know who l want to producer James Cameron This one is definitely for him ,we were both from. Kapuskasing wait till he hears this one it has everything!!!!????????
My advice is to build up a strong filmography of movies with genuine audience and industry affection, and then reach out. James Cameron gets inundated by just about everyone (and he usually directs and produces what he writes himself). Good luck!
I enjoy hearing this from the Producer Standpoint. Film School teaches us our side.... better equipped if you have the FULL picture.
I spent nearly 2 decades building a step by step process entirely from the producer's perspective, so I couldn't agree more! Have a look around this channel, and if you can join us, be sure to check out the Setup Phase (the first phase of FAST Screenplay) -- the whole point is to prepare your imagination for industry needs. If you have any questions, don't hesitate to ask.
I was wondering how can I protect myself from everyone stealing my ideas? Three people already tried. Registration with the Library of Congress is what I have in mind. Thank you so much.
It depends. If you're referring, literally, to your IDEAS... then, unfortunately, there is little remedy. Ideas are not copyrightable. It is the EXECUTION of an idea that is copyrightable. In other words, the basic premise of your story is not; the screenplay itself (the fully-fleshed-out-story-and-presentation) is. When you say "three people tried" to steal your ideas, what do you mean, exactly? At my production company, we reviewed nearly 30,000 project submissions, and only a handful were viable. In my experience, there is very little out there worth stealing. There may be some great IDEAS worth doing (which the writer isn't yet skilled enough to turn into a viable project at a professional level), but this wouldn't be stealing, because the production company would inevitably create their own unique spin on an idea. PLUS, they'd have to invest the time and expense of actually developing that project themselves (and they're usually spending those resources on projects developed in-house).
Truly viable projects are not really worth stealing -- at least not by a mainstream, reputable company. It's far FAR less expensive in the long run to just buy your project, rather than always look over your (the production company's) shoulder in fear of a lawsuit that could put you, your sales agents, your investors, and everyone else in legal jeopardy. To even GET a distribution deal, producers need what's called "chain of title" -- which is the proof that they own the project legally. Theft does happen, so I would love to hear your situation to be able to comment more directly, but in general, ACTUAL theft (plagiarism/theft of screenplay which gets filmed as written) is somewhat rare. Let me know your situation, and I'll try to expand my response to address it more specifically, if I can.
In my experience (now having dealt with tens of thousands of writers), the more you write and develop your skills, the less reliant you'll be on any one idea. I guarantee you have HUNDREDS of workable ideas. Register your script and send it out. Don't stress about theft. Instead, get so good at what you do that they CAN'T steal from you -- they NEED you too much. Hope this helps!
Hi man i have a question to ask. As a beginner professional screenplay writer how much money can we demand for our screenplay if it gets selected or is this is decided by the producer how much to pay to a beginner writer and can we negotiate the deal as well? Waiting for your response.
Thank you
(Copying and pasting this reply from the other video, as you posted the same comment twice, and I want to provide the answer here, too, in case visitors only see the question here.)
It depends entirely on the market and the producer. As I get viewers and students from all around the world, there is never a set response to this that is true for everyone. But as a very (very) loose rule of thumb, you can expect a non-union script to sell from as low as $5k - $25k to as high as you can negotiate for it, and for a union sale to be anywhere from $65k - $135k to as high as you can negotiate for it. The sale price is often affected by the budget of the film, as well, and the story rights and writing component of a budget will generally be about 3% of a film's budget. Low and no-budget films may net you markedly less, and in some cases writers may forego a sale price and instead opt for backend points (a percentage ownership in the films) -- the actual percentage will be determined by the situation and there's no "norm" there. As for negotiating: Yes, of course you can negotiate the deal. In fact every single detail of the deal is negotiable, which is why agents and entertainment attorneys exist.
I will say this, though: New writers tend to vastly underestimate what it actually takes to write and sell a screenplay at a professional level. So it's generally not advisable to go into this with money as your primary motivation (i.e., don't expect to pay the bills with your first script sale). Often writers will need to make lesser deals with their first or early scripts in order to establish some credits and open the doors to the bigger deals and production companies or studios. Be driven initially by proving your quality, your originality, your flexibility and your workability; that will get you the bigger bucks later as your skills and network grow. Hope this helps!
If its not one compelling character but like 3 different men over a few decades? Then the thread that connects them is the main "character" in the logline? (If you get what I mean)
You could say it’s about three men. There are no rules. Your goal is to hook the reader or producer with a concept that is cinematic and engaging, and make them imagine a movie and want to know more.
Good video. But I disagree with writing the logline after the script is written. I must write the logline before writing the script, then edit the logline, if necessary. When a writer captures the heart of his story writing the logline first, he knows that story well to effectively put on paper.
+T. Jones, you're actually referring to the two different kinds of loglines. There is the story development logline (which we create in the Focus Phase), which guides the development of the story... and there is the marketing logline (which we create in the Payoff Phase), which is the first hook in the promise progression, which leads to the deal. This video is about how to grab a producer's attention in the marketing phase, so that's the logline we're focused on here. But you're absolutely correct that it's necessary to capture the essence of the story before developing it. That's what keeps you on track. So... we're in total agreement -- just don't let your marketing logline guide your story development... and don't use your story development logline to try to market your story. :)
Thanks for the comment, and keep on writing! Good luck on your projects!
Thanks for the feedback. I didn't know that. I'll be sure to keep studying your great channel. Lots of helpful info.
Do you write the synopsis before or after writing the script?
Me too as well.
it helps to learn how to write synopsis and treatments too
Come on in. It’s all covered in the system.
I mean, I can teach the basics here but what it looks like and how to do it well enough to win over a producer just takes a whole lot more time than I can do on CZcams. It’s the difference between learning where the piano keys are and playing like master. A synopsis is a one-page encapsulation of your whole support. A treatment is a prose version of your story, anywhere from about eight or ten pages, up to fifty or sixty pages, depending on how detailed you need it to be.
Hope this helps.
Good information, Jeff. Thanks for sharing. Here's the logline to my movie "2028 END" ....
"In this shocking, yet believable, apocalyptic movie, God reveals secret prophesies He made in EACH of the 7 Creation Days, foretelling the end of the world in the year 2028."
How's that sound?
Always remember: It's not about whether I like or approve of it -- it's about whether it's going to draw in your target producer and hook them into your promise progression. (And remember that there's no point hooking them with the logline if the rest of it doesn't then exceed their expectations. So, really, there's no "right" way to create a logline. This is the mistake most writers make: They imagine that you create a logline for the film, when in reality you create a logline for the target. :) Hope this helps!
Thanks, Jeff. Yes, I understand you. I printed out and read your "missing ingredient" paper. I already know my movie idea is not going to fit Hollywood's traditional plot layout, because it's about God revealing the secret prophecies He made in EACH of the 7 Creation Days, showing how He "declared the end from the beginning and the things that were not yet done" (Isaiah 46:10).
The movie would contain scenes of the Fall of Adam & Eve to the serpent in the Garden of Eden, the destructive global flood of Noah's day, Moses and the Red Sea parting, the birth of Jesus and John the Baptist, the day of Pentecost, and the coming of the Antichrist, followed by scenes of the destruction of the earth with fire at Christ's return.
These are the 7 things God prophesied in the 7 Day Creation story! Can you imagine the on screen spectacle? It would be STUNNING! Hollywood made a 100 million dollar movie recently about the story of Noah (Noah) just so they could make a movie containing the global flood scenes. Then they made another one about the story of Moses (Exodus: God's and Kings) just so they could make scenes of the Red Sea parting. The movies were both pretty bad with nothing new to say, and yet they made them because they know Bible movies draw crowds.
Well, can you imagine a SINGLE MOVIE that contains all the things I mentioned above, AND ties them intelligently and logically into how God prophesied these 7 things to happen all in the 7 day Creation story? People would be SHOCKED!!! Finally, a Bible movie with something NEW to say!!! This is not just some traditional Hollywood plot layout, this is GOD'S MASTER PLOT for this earth being played out before their eyes! I truly believe it would be the biggest faith-based movie of all time, even beating the Passion of the Christ, as everyone leaving the theater would be telling their friends and family you HAVE to see this movie!
Thanks for all you're doing for writers, Jeff! God bless.
There's a big market for religious films, and I suspect they would be interested. Just make sure you've turned the idea into a viable legitimately producible (production-ready) screenplay, and have designed the path to attract them. Remember that there are tons of ideas out there, and more folks trying to make stuff than ever. It's increasingly important to refine the stories and turn them into truly extraordinary screenplays. It's a detailed craft that takes time to master, but if you're following your passion, it's always worth pursuing. Good luck with your project!
@@2028end i saw a short movie called GENESIS a couple of days ago. Coincidence? 😕
@@fastscreenplay how long is the usual screenplay in pages or words?
what if you are creating a drama series which you think will have about 5 series, do we have to write out the full 5 series then create the log line?
The logline is the hook that helps them quickly evaluate whether the project is within the realm of what they’re looking for. Loglines are helpful for film and television.
Separately, no, you should usually not write 5 seasons’ worth of stories, as you simply don’t have any idea yet what resources you’ll have or what changes will be required along the way. Television (series) entertainment is more fluid than feature film in that it takes a lot longer to create. A lead actor could get injured along the way or the world could change in some way - almost anything could require shifting directions mid stream. That’s why you need to write enough to demonstrate that you’re able to write at that level, and then map out story arc and/or episode overviews of the rest, so that they know the series could sustain a longer run if it proved popular.
For the record, it’s very hard to get a tv series greenlit due to cost and the logistics of production. I personally advise against new writers creating series and suggest to first demonstrate your skills on indie features, for which there is unlimited opportunity today (and a lot of people trying to take advantage of it). Hope this helps!
@@fastscreenplay thank you for the advice. What I will do is write the first series, then write a feature length film. Then take it from there.
@@viclloyd2714 Good luck!
@@fastscreenplay thanks
I noticed very few movie credits, does that mean you mostly take ideas and sell to other film companies? According to wikipedia you are currently working on a book, so don't know if making movies is your current thing or not.
Quick question if you don't mind. I have got my screenplay down to 131 pages and now have to cut pieces of the film away to get it down to the 120 pages I was told it must be down to before anyone would read it. It's just hard making that cut. Do you have any film series on that portion of screenplays?
But, I do like your series.
Markis Gardner Very few film credits indeed -- simply because I (foolishly?) have spent the past 15 years trying to solve the script development problem. The original vision was to build an indie film studio, but I've looked at over 20k submissions and found fewer that 1% were viable. Now that FAST Screenplay is built, I'm in active development on about a dozen projects again, finally. (And to answer the question, no, I have no interest in on-selling projects. I'm a hands-on producer.)
Regarding editing, that's pretty much what the whole job of screenwriting is about. I don't have any CZcams videos on it, but the Strengthen Phase of FAST Screenplay is the most thorough and comprehensive approach to screenwriting I've ever seen. It's NOT just about arbitrarily cutting 10 pages out (and FYI, that info is somewhat outdated; the rule of thumb these days is about 110 or less)... the key is to tell the best, tightest, most effective story you can. Ignore people who tell you page count is a deciding factor. All it does is tell prodcos that you're either a newbie, or you have an extraordinary epic. When they open page 1, they'll know which it is.
Thanks for watching. Good luck, and keep improving every day. Remember: it takes 10,000 hours to master any craft. Persistence will get you there.
Jeff. I'd like / and appreciate your advice on something. I sent my screenplay to a producer who said my query of the story/script's premise was intriguing, and he wanted to read it... He also said he'll get back to me. I'm holding out (waiting) and not contacting him yet. It's been a week and one-half since he received it. I'm basically holding out because of him saying he'll get back to me. Plus they are a production pod for movies and television that buy options and film rights from authors of screenplays. A Production pod??? Thanks
I can't give advice on that, since I have no knowledge of either party or the situation or the deal, or what terms you submitted under or how it was submitted, etc. Too many variables, I'm afraid. Plus, as it's a specific situation, it would really be an issue for your rep to address. Sorry I can't be of direct help.
@@fastscreenplay Yes. I agree. Trouble is it has to be read by someone. A fast and clear reading which you recommend can make the difference. Too much action block will slow one down. Too much dialogue is talking heads. I will go with 55 / 45 for the current lazy studio readers. Simply because visuals is what a picture show is about. Thanks.
@@peterscherba4138 See my reply to your question about this on the "How Not to Lose Them on Page 1" video.
@@peterscherba4138 Regarding the comment "it has to be read by someone", I disagree. You are describing the scattershot approach -- throw your work out there wherever and see what sticks. This runs counter to my message. I recommend submitting to your project's ideal producer(s).
Got it.@@fastscreenplay
once past the log line, you need enough beats and the right kind of beats to keep a reader engaged with your story. if it's a horror, start with a scare on the first page, then unravel it's deeper meaning through visuals, suspense and kills, as the character's story unfolds.
Of course, naturally. But… that’s not really what this video is about, because if you can’t grab them in 15 seconds, they won’t get a chance to see your first page.
We’ve got plenty of videos that go deep into what you’re discussing elsewhere on the channel, though so I encourage you to look around. We actually get into the how of it. :)
@@fastscreenplay not sure what you mean. the fifteen seconds is on the first page. have you sold a movie?
@@DAMON409 lol. Yes, I have. And, more to the point, I’ve bought them, too. And the 15 seconds referred to in the title is how the script gets in my hand in the first place.
Your comment is true, sort of, it’s just not really on topic for this video is all.
@@fastscreenplay I see, I had to watch it again. Your 15 seconds is the logline. I've seen examples of loglines for screenplays that sold, but that to me aren't compelling at all, and often seem way too long. Seems you have lots of experience with this part of the process. I'm currently shopping a supernatural horror. Wondering what movies you have sold? Thanks!
@@DAMON409 You’re likely reading loglines that have been created after-the-fact. Loglines are often created for informational or marketing purposes (TV guide blurbs, etc), and their intent is not the same as someone who needs a producer to read their script. That’s why lots of loglines are terrible. They should not be your model when creating something to get attention for your project. Before we stopped accepting open submissions, I reviewed over 30,000 loglines to my production company, and maybe 1% are written effectively (and almost 0% use the promise progression, which is the key to getting a deal). Writers don’t want to hear it but loglines are a craft unto themselves, and they speak volumes about the writer. Over the years I developed an ability to know instantly if a project (and writer) were going to be viable from the logline alone. That’s why I get a little testy when people turn the attention to the script without first appreciating the importance of the getting their script read in the first place. Hope this helps!
Welp.
An alternative title might be: How to Write a Great Logline and Why It Matters.
Super high quality, vital content. These ARE the droids you're looking for.
My barn is missing a few horses right now 😳
+FAST Screenplay, you could just do a collaboration with a youtuber, filmmaker or anyone who could animation for your videos. You don't even have to be in the same continent as them. Just contact someone, ask them what animations you want and put them in your videos.
8 Films I appreciate the suggestion, but it's not just the illustrations and animations. It's the entire process. I know the videos look simple, but they're layered (like my system) so that you'll get more out of them each time you watch them (as your writing and film industry skill levels increase).My primary focus is on getting film and tv projects up, so the time that has been required to make this series has forced me to prioritize. I do hope to return to this series eventually (it has 19 parts in total, and it took 5 months to create 4 of them), but since they don't seem to making any noticeable impact at this point, I'm going to focus energies elsewhere and return to them later.In the meantime, I've got a 4-part series coming up, and a bunch of new Uncut episodes in the works. So stay tuned and thanks for watching! :)
i am very sure that the logline is very important, my question is after i complete my story how can i extract the logline in the perfect way?!
The Great Danton Abd The video shows a basic framework you can use. For a comprehensive look at loglines, I would recommend joining FAST Screenplay. The question you're asking is enormous -- we devote, literally, months to perfecting this this. There are two kinds of logline: a story development logline (you'll using the Focus Phase to build your story) and a marketing logline (you'll use in the Payoff Phase to capture the attention of a producer). You create both of them in entirely different ways, and it's absolutely essential that you understand the difference between them.
Unfortunately, it takes me the equivalent to a whole book to explain it (and guide you through it) so there's no way I could do it justice in a CZcams comment. Try the FAST Screenplay 10 Day Free Start (fastscreenplay.com/10-Day.html) to see how the system works, and you'll see what I mean. There are dozens of techniques on the logline alone, so be sure to keep pushing forward. This is a skill, just as writing is a skill. Keep at it and it will become very clear.
How to write a logline for multi-character Differents Roles /Multi stories in One line ??
Any advice is detached from your project (loglines are uniquely connected to the project they're pitching, so generic advice will always be of limited unse), you could try focusing on the theme and your broad approach to it, and shape that into a hook.
I'm going to knock this screenplay into the Silver Screen !!!! If I'm alive !!!! 🙏
Adjust, adapt, and keep moving forward... and you can do it!
@@fastscreenplay thank you .
Victor Allen Cook It’s true. :)
I have a log line that's captured people's interest, it's what makes people say "send me your material". What kills it is how my treatment/synopsis is done. It's done through the perspective of the main 2 characters. Maybe this is the error of it. It should be down from a more neutral, overseeing perspective perhaps? When I orally describe the story a lot of people are interested in it, I think the error is in the presentation of the treatment. I guess I'm just not entirely sure how to go about that. :-/ I feel like I've lost a lot of potential backers just because of how I presented the treatment.
I can't give you specific advice, but in general, your synopsis should be limited to one page (a treatment can be longer) and should be VERY clear, and needs to EXCEED the promise of your logline and yet make a whole new (greater) promise/hook of its own, that gets them to request the script or treatment.
Treatments are tricky, and should really only be created AFTER you've substantially developed your story. Most people get them wrong. In FAST, we actually have a step by step process that generates pretty extraordinary treatments (in the lead-up to writing the screenplay). Not sure if you're interested in taking it further, but that's what I'd recommend.
Hang in there, in any event. It takes time and practice, but you can do it!
This happened to me years ago. I told a friend of mine a log-line of my first script. Unaware he knew people on the film industry. He told them about my movie idea, and right away they look for me. Then asked me to send the script to them, the love it. Soon then had a meeting with me, with a budget on how much money, it will need to produce the movie. But, once more people got involve, they notice the script was not written write. It need it to be polish. So, I've took classes, even another director for independent movie, heard about my story. He read my story, he liked and he worked with me for a year to polish the story. The main line, you know where is your weakness on writing. Work on it, and try to make happen.
For non writers but someone who believes they have a unique idea....do you have suggestions? Whilst travelling with my young family, I was hung and stretched till my muscles were ripped from the bone....I survived to face volcano few days later. Real story.
Unfortunately now I am perm disabled and don't think I am well enough to write a screenplay myself. Thank you in advance.
mybuddyrobin The only suggestion I could give would be to seek out screenwriters for whom your story might resonate, and partner up with them. The main problem is that writers (who have the skill level you need) tend to be focused on their own stories.
I will say this, though: I hope you won't rule out writing your story yourself. If you survived an extraordinary physical ordeal, people will be interested in that story. Human beings love and are drawn to people and stories that beat the odds. If you can post a comment here, you can write. Don't think of writing a screenplay as an enormous challenge you have to complete in one sitting. Try taking it in small steps. In my system we break it down so you can learn the whole process in about an hour a day. You can spend much more time each day on it than that, but it's designed to enable anyone to do it. The fact is, there's no rush, and no need to write your story all at once. Great stories will still be great stories two years from now, ten years from now. If you wrote just half a page a day, you'd have a 100 page screenplay in about 7 months.
I don't mean to steer you in a direction you don't want to go, so please take my comment as a humble opinion. I just love to see people overcome adversity and conquer those things they didn't think they could do. This, I believe, is the essence of the human spirit. All my very best wishes to you.
Thank you for your kind response. And thank you for your input. I believe there are no bad ideas or input they all just add more ingredients to the smart Chef's repertoire. Great idea on the 1/2 pg a day.
I am debating it now. Healthcare folks are always telling me I should write a book... never really thought about it (busy trying to claim my life back) till I discovered that 2 other tourists, Japanese, were decapitated a few yrs after my hanging...I just want to face their families. I'm a, well I used be, a big activist, human rights/social justice. I didn't speak up the one time, once, and a lifetime of pro-activity ends with failure to act costing two lives. I'm hoping that getting my story out will lead me to their loved ones...I need to say how sorry I am. Singularly the biggest failure of my life....bless them.
Too bad the old George Costanza pitch isn't...ehh ;-P
mybuddyrobin Well, I don't know if it's appropriate for me to say, but I believe that we shouldn't regret past decisions. We tend to make the choices we believe to be right in that moment, and it's easy to second-guess later when a stress is gone or time gives us the leisure to ponder or re-evaluate.
Personally, I agree with those healthcare folks: I think writing your story is important, I'm a huge advocate of it. If you tell your story from the heart, it will resonate. And regardless, it will be a tremendous help to you. Think of it this way: What's the point in going through life-changing struggle if you're not going to share the insights you glean from it?
In my book I talk about how "ideas spark ideas". It's true in your mind as well as externally in the world. In your mind, one idea takes you to the next (which is why you need a clear path, to keep you on target). Out in the world, one idea can have a life-changing effect on another person. And then that person could affect another. The flow-on effect is hard to measure, but that's why I think each of us needs to tell our story and put our unique experiences and insights out there. Because you never know whose life it may change.
im not good at writting ..
but my brain how ever .. can imagine things alive and make moveis and sitt at the cornner veiw it for hours ..and combine it and even my brain chose the actor throw the process and change them . and even more experiance the different feeling roles and choose whis best to do it
some times i enjoy my brain and heart chating in the cornner for hours more than seeing a movei..
my parents called me crazy but they dont know how much fun it is ..
i had this scince i was 5 y old ..
but couldnt take it to the next level bec i live in yemen ..and coudnt learn writting skills nor go to america..
What you're describing is imagination -- all writers do is capture that on the page, so that when someone else reads the words, they imagine the same thing you imagined. Don't say you can't do it -- of course you can. And if you lived (or still live) in Yemen, you should absolutely develop these skills, because you have stories the world will want to hear.
Here's how to take it to the next level: Write every day. Even if it's "bad" or "terrible", that doesn't matter. Write EVERY day for at least 10 minutes. Watch my new Daily Prompt video series (subscribe to this channel). I will teach you all sorts of things, and as long as you can watch CZcams, you can learn how to do this.
Stay optimistic (it's a survival skill). Believe in yourself. Take action daily. And share you stories.
FAST Screenplay
Im on it ..
bind me on the roket and lunch it
But I don't want to write a screenplay. I'm in author and want my story to sell much like hundreds and thousands of other stories that has turned into movies. How can I pitch that effectively?
How big an audience does your novel have? If you have a sufficiently large audience base (think 1million+), you can try to find an entertainment lawyer or agent to rep your IP.
Note that you'll still need to follow the instructions in this video to grab them first, and then exceed their expectations with each new reveal. So "how can I pitch it effectively" is what this video is all about. But how can you make contact is what I answered first because I'm assuming that's what you really want to know. ;)
One last note: I get a LOT of writers asking me this question when all they've really done is self-published a novel (or written a novel that has not yet been published in any form)... and if that's the case, the answer is you CAN'T pitch that effectively. The reason is simple: When producers buy the rights to novels, they're buying the IP (intellectual property) based on its existing value. They do that not because the IDEA or the STORY are amazing (usually) but because it's a marketable commodity (because there's an in-built audience - your million+ fans) who are likely to be interested in the film version. If you don't have all that, then you don't have a commercially interesting project, and you have to pitch it the same way you'd pitch a screenplay project. The only difference is that they don't even get a screenplay they can shoot - so it's even less interesting (unless you happen to be perfectly aligned with the producer and they just love your novel and want to make it). A self-published (or unpublished) novel is the same thing as a screenplay pitch, which is why I started by asking how big your audience is.
I hope this answer was helpful!
Brilliant; in a nutshell.
Thanks for the comment.
can anyone tell me how to contact with producers with my ideas/story??
You'll generally want to contact them through your agent. Producers almost never accept unsolicited submissions for a wide variety of reasons (creative and legal), so they only look at material that comes through sources that are known to them (and trusted by them). Note also that it's extremely rare a producer will accept an idea/story pitch from a writer without first seeing a professional-caliber screenplay by them, again, usually submitted via an agent. Hope this helps!
so if i have a written material with me i just have to find a producer ? how do I get one
linet kalunde It takes me about a month and a half to guide writers through that bit, because making the wrong move will keep the doors closed to you. I’ve addressed it elsewhere on this channel but there’s no substitute for learning and applying the skills. Can’t really convey that in a comment but the basic idea is to find the producer that’s right for your project, hook them and then exceed their expectations with your synopsis and screenplay. The mechanics of actually doing that are complex and require advanced writing and persuasion skills, so it’s not like you can go to IMDb Pro and get their number and call them. It’s more complex than that, which is why so few do it successfully. But it can be learned and mastered.
linet kalunde Also: it’s not about having written material. It’s about having a tested, vetted, viable production-ready project. Don’t reach out before you have that. Hope this helps.
@@fastscreenplay ok thanks , but how can i know that my written material is production-ready project or good enough ? you know I cannot judge because am the one who wrote it...
linet kalunde Feedback from professionals. This is why I say it’s a complex thing to do. Not only do you need the skills, you need to build a network of people who can actually tell you the viability of your project (even most paid services are not very good at identifying viable projects). The skill you need is what I call “alignment”. I’ve made a few videos about it on this channel, but we actually take a month or so to guide writers through building that skill, and that’s before then going through the process of building the marketing plan. And all of it relies on pro level writing skills, which is why I take about eight months to guide writers through all that. It’s all very doable, but it’s not just a matter of writing something and looking for places to send it; it’s about developing the skills and the network simultaneously, which ultimately serve each other. As I mentioned earlier, it’s not something that can be taught in a comment because it’s too complex, but if you want to go through the whole process, let me know. Hope this helps!
yeah nice video, though i would very much want to see what a perfect log line looks like to you. teach with example hence effective tutorials, so i believe. but thanx for the info it will kinda help
Well, that's the thing: There is no such thing as a "perfect logline". You need to create the perfect logline for the story you're telling -- all based on the promise progression you're creating. (And that will be different in literally every single project.) If I were to give an example of a "perfect" logline (as many out there are happy to try), then what happens is everyone uses that "formula" and submit loglines that become generic and predictable. (And get rejected or ignored.)
It is MUCH more valuable to understand the principles and concepts that underly the "perfection". If you know the WHY of what you're trying to accomplish (which is what this video -- and everything I put out there -- is all about), then you can create an ORIGINAL logline that will actually stand out and command attention and achieve the results you're going for. The simple truth is that there is NO formula that works, regardless of what anyone tries to sell you.
As someone sitting on the receiving end of script submissions for nearly 2 decades, I can assure you: formula signals UNcreative. And this is why I try to avoid specific examples wherever I can. I believe (very strongly) in guiding you through the PROCESS, so that you can discover what's "perfect" for YOU and YOUR project/idea. And you won't find that outside of your own imagination. The only way to find your own voice is to exercise your own style. Hope this offers some insight.
well this does give me an insight on things to up my game because way back here in Africa Uganda its a whole new thing. But thanx and keep helping people like us who need this. Andrew
Cool stuff, but I'm not clear on why the logline needs to be done at the end. I like to do it first because a compelling logline serves (to me) as a guide to the writing.
Because if you don’t know what your final project is, you’re creating a logline that will invariably disappoint. Imagine you create a logline that puts the promise of an amazing project in someone’s head. But then when you write it, you end up with a somewhat different project than you thought you’d have when you started. When someone hears your logline and imagines this great project, the screenplay will disappoint because it’s promising something different to what you deliver. Your logline is not about your story; your logline is about connecting your project with its ideal producer.
In fact, there are two different kinds of loglines - one that guides the writing, and one that hooks the buyer and pulls them into your promise progression. I would say at least 70% of the loglines we reviewed (30k+ of them) were probably written to guide the story development, and never had any chance of hooking a producer, because writers almost never think through the marketing of their projects. If you understand and master both, it will help you immeasurably.
@@fastscreenplay But I don't end up with a different project. Like I said the entire point of writing the logline first is to get it to the point where people reading it say, "Yeah, that's a movie I want to see" and then writing that movie. If during the writing I discovered a compelling reason to change the story then I'd step back and change the logline to fit before moving on, but it'd have to be a change that made it even more compelling.
@@visvivalaw In my experience, if a project doesn’t evolve during the writing process, that project is insufficiently developed. So the logline will always reflect an earlier version of the project, and will thus always require refinement.
But beyond that, the larger message of this video is grabbing the producer’s attention, and that means creating a logline that specifically hooks them and pulls them into your promise progression. I have yet to meet a writer who does this to its full potential, so that’s the context. Hope this helps.
Is a Logline similar to making a synopsis of a story/film? Or is it kinda the same thing?
A logline is a single sentence that encapsulates the essence of the story. A synopsis is a one-page (generally, sometimes longer) overview of the story.
@@fastscreenplay So in that 24-30 word sentence, it contain 3 or 4 structures in order?
1. Challenge/Issue
2. Characters/Protagonists
3. Goal
4. Antagonist
It can. But it depends entirely on the story and the angle you’re hoping to entice them with. In most cases, including those four items in any meaningful way will be too much for a logline. But I’m sure it would work for some. Always remember you’re not pitching a story; you’re offering the hook. You’ll tell them the story further into the promise progression.
My advice is to watch the video and understand what it’s explaining, as I believe crafting a logline is far more nuanced than simply including four elements. That’s the kind of bad advice that’s all over the internet that actually sends writers in the wrong direction. Your logline is an expression of your creative skills. Carbon copy loglines imply cookie cutter screenplays. It’s not ultimately about the logline; it’s about what the logline is trying to sell.
Hope this helps.
@@fastscreenplay I think so, and I can watch it again. But because I'm also a visual guy, I wanna make sure my example of a logline kinda make sense so that I know what to fix and/or take out.
Trying to perfect it in isolation is hard. Writers often mistakenly believe a logline is just a sentence to write and hone, when in truth it’s a tiny part of a much larger over-arching process (as described in this video and throughout this CZcams channel). There’s a reason I built a whole screenplay development system and not just a logline service. It’s all interconnected and I would argue it’s almost impossible to do effectively on its own. So much depends on all the other non-logline elements.
Remember: the logline is the hook, not the story. Ideally, that hook is an encapsulation of the story’s essence. And there is no “formula” for capturing what’s unique about something unique.
How much competition is their in the movie industry?
It depends on how you define competition. How many people are writing screenplays? A few hundred thousand worldwide. How many are talking/dreaming about it? Maybe a million or two. How many are writing stuff producers can actually use? A couple thousand tops. How many of those are connecting with their ideal producers? There’s almost no competition at all on that level.
Bottom line: there is no real competition, if you’re serious about it and take the time to learn the tools and strategies, and master the skills. Almost no one puts in that much effort, leaving the field wide open.
How can I send a logline to a producer?
Get it requested. (Watch my DAILY PROMPT for full context. That can’t be fully answered in a single comment.)
So whats a log line?
Examples would really help...
knight2battle The problem with examples is that people then merely copy the example. Instead, I've pinpointed the elements to include -- jump to 4:18. Since every project is unique, it's essential to design a logline that's specific to your project. Copying other loglines unfortunately works against the goal. Hope this helps!
How to found third part ? It was very important for me please someone help me
SID sid What do you need? I’m here to help.
@@fastscreenplay sir I write twist horror and thrille story I don't know anything about how to write my story one-liners,tag line, and screen play please help please upload one step by step guide if possible please
@@fastscreenplay sir cauld you please guide me how to convert my Raw story to real movie script if possible wait for your reply
SID sid It takes me about a year to guide you through the process, at FAST Screenplay. Join us there, you can start for free at fastscreenplay.com/freestart
If you’re unable to join us, stay tuned to this channel. I’ve already covered it on videos across this channel, and will continue to do so in the months and years ahead.
SID sid There isn’t one single way to do it, which is why this video covers the principles. The key is to hook your target, and get them interested in reading your script. Any formula would stop working because the element of surprise is gone. That’s the job, coming up with your unique angle and presentation of your ideas. Start with the examples in this video, and build on that. Let me know if you have specific questions and I’m happy to help.
Well Tell The Truths To Attract Producers
I don’t follow. Can you elaborate? Are you saying that to attract a producer you need only to tell the truth? Because lots of people tell me the truth but I still can’t use their ideas or stories. 🤷🏼♂️
How could he not give a couple of examples?!!
Actually, omar66277, the template is more effective than examples. I'm not a big fan of examples in general, because they limit your thinking to the narrow framework of the example itself. In other words, when given an example, you write copycat versions of the example, rather than use the *principles* to create your own unique content. In this video, you'll find the *principles* in the form of a template/framework -- which will serve you far more effectively in the long run.
Hope this helps.
Jeff
I was thinking the same thing! Not ONE example? But then... The title of this very CZcams is an example of sorts! It follows his principles.
i hope this works!!!!
It does, +DJ Denise Casanova Official. Particularly if you learn and master the whole process. :)
+FAST Screenplay ok! thank you for your reassurance! Especially for the video. thank you ☺
There's a paradox here.
If you're trying to grab someone's attention with a script, you're not writing a script from the heart, and if you're not writing from the heart, you're likely not being very creative or interesting.
This is the problem with monetizing art. It's a paradox, and that's why it's hard to find interesting and innovative thinking in Hollywood these days. Although it certainly does exist.
+Dialectical Monist, thanks for the comment, but I think you might be missing the point and purpose of the video. You don't actually grab their attention with your script -- the script is what delivers the goods once you've GOT their attention.
Regardless of what you've written (or from what part of you it comes), to see it turned into a movie, you have to capture some very busy people's attention (as explained in Part 1 and the two intro videos). That's what this video is about, irrespective of what kind of script it is.
Hope this helps. And for the record: In my opinion, you should ALWAYS write your spec script from the heart. :)
FAST Screenplay You made a nice video, with a useful idea. I wasn't trying to be critical, just thinking out loud.
Selling an idea, is of course a paradox, because the moment someone senses they are being "sold," is the moment they create resistance.
"Read my script." - "No."
"You like movies." - "Yes."
I guess my practical point, is that a logline should involve the very reason you made your script in the first place. Which takes place before you ever begin to write it.
+Dialectical Monist, thanks for the kind words. Don't get me wrong, I didn't misunderstand your idea; I was only trying to point out a larger context in response in the hope that it might help in some small way. What you're expressing is a form of the Art vs Commerce idea -- that stories should be art, but that the commercial aspects of the business are at odds with that. One of my overarching themes is that the key is to success is to recognize that there need be no conflict between the two. In fact, success requires marrying them together.
Think of it another way: If you were deeply passionate about superhero movies, such that they were a true expression of your art and creativity, pitching them would not feel "commercial" or like you were selling out. It would not undercut your art, because your art is in alignment with your commercial need to connect it to those producers or production companies. Well, similarly, if you write an avant-garde experimental art film, there's nothing icky about pitching it to a producer who specializes in that kind of thing. You're simply trying to connect with your project's ideal producer. "Selling" only feels wrong when you're misaligned with your target.
Marketing loglines are merely a super-fast way to determine your alignment with a producer. In my system of screenwriting, I make a very important distinction between two different kinds of logline: There's the "story development" logline, and there's the "marketing" logline. If you're creating one and using it for the purpose of the other, pitching will always feel out of step. I am an absolute advocate of creating a logline to steer the story development process (see Part 2 of my upcoming video series on FAST Story Development), but you need to create a marketing logline to pitch, because it's part of an intrinsic Promise Progression. You have to hook them before they'll every review your project to see if it's right for them. An effective marketing logline doesn't create the resistance you mentioned. If it's properly targeted and aligned, it creates excitement. So, to think of it another way, the resistance may be an indication that it's either not properly targeted or aligned, or it's not effective enough.
Hope this perspective helps a little. With practice, it's entirely possible to achieve both goals at the same time.
+FAST Screenplay I was going to chime in that I disagree with the recommendation of writing the logline after you've written the screenplay. What I've seen is that a lot of writers bash out a story and then have no idea how to pull the crucial elements into a workable logline. Perhaps fundamentally it's because those elements weren't there to begin with.
But it seems you're walking it back a bit, making a distinction between a story development logline and a marketing logline. Am I understanding you correctly?
+patbuddha, I don't know about "walking it back a bit"... (heh heh)... I've spent nearly 2 decades promoting the idea of separating the two different kinds of loglines, which are: 1) the story development logline (which you develop to condense and clarify the essence of your story, which helps you stay on target AS you develop your story) and 2) the marketing logline (which you develop after you story is finished, and which captures the attention of a producer, hooks them in, and pulls them into the "promise progression", so that you can increasingly impress them by exceeding their expectations).
So, yes, you are understanding correctly. This video is about the *marketing* logline, which writers should never develop BEFORE they write their story, because that leaves them hoping their work will connect with its idea, rather than *knowing* it will because that connection is built into its very design.
Thanks for the comment. I agree that most writers bash out material that doesn't include what it needs. My aim is to help them fix that. :)
Jeff, you grabbed my attention with your video's title, so I watched hoping to see examples of good and bad log lines. So, I'm a bit disappointed. I would rather not sign up for a course or buy a book . . . I just want an example or two.
Fair enough. I’m not really the examples guy - for a very specific reason: I’ve been teaching this stuff for 22 years now and the problem is that whenever I present examples, I find that writers emulate the examples (deliberately or inadvertently), which dilutes the effectiveness of their loglines. It’s not about copying (or emulating) someone else’s logline; it’s about using the principles (which is what I teach and what I’ve presented in this video) to craft your own logline - uniquely suited to your project and aligned with your target. If I included such an example for someone else, it might send YOU in entirely the wrong direction (and vice versa). Results have proven to me again and again that teaching you principles gets the outcome you’re looking for.
I hope this helps and sheds some light on my teaching style and approach. And if you have any specific questions, don’t hesitate to reach out and let me know.
@@fastscreenplay Excellent response! My disappointment has turned into a better understanding because you did such a good job of explaining your reasons. You're a wonderful teacher. Thanks for this response.
@@richardrobertson1331 Happy to help!
A high school chemistry teacher learns he has cancer, he cooks meth to pay for his treatment costs, but ends up building a drug empire.I'm convinced there's a con
I think that's been done.
If you have time I would like to speak with you more about this possible through email
If you have any questions, let me know. It's best to ask on the comments, though, so that any answers or further elaboration can help others who visit this page, too.
What about a 9 word metaphor as a Logline?
+Crystal Wolfer, metaphors don't usually tell us what the movie is about, so they tend to come across gimmicky or ineffective (and the assumption from the producer's perspective is that you don't really know your story, or you're fishing for a reaction). Loglines are the encapsulation of the core of the story, so creative approaches to them should be done with caution. Hope this helps!
Thank you that helps a lot I appreciate it
Plot, or moral/takeaway/theme? Relic lifeguard in colloquially opportune setting has familiar visions to revive abandoned history and missed opportunities of popular waves passed to an unrealized, potent, stellar institutional future. All the character energies are present but the creeping of authoritative modernization is steering away (from) emerging character potentials and social developments. The value of excellence is pitched against risk assessed retraction from liabilities of human capital, till his shrinking peer group witness the simmering's of humor, creativity and crescendo-ing game play of his Junior lifesaver competitors, instructors, subordinate and insubordinate lifeguard peers to the astound and astonishment of administrative and municipal leadership. This is vague, no there is no screen play, I can only write to an, at least figurative, audience.
I don’t know what any of this means, but I wish you great success! :)
What are the best loglines you've ever read?
I can't really say, for the simple reason that then writers would try to emulate them. The best loglines are unique to their story or the concept they are trying to encapsulate. What might be the most effective logline for one idea could be a horrible logline for another idea. (This is one problem with so much of the "advice" on the internet -- people teach by example, and then they create bad habits in writers that are incongruous with their own unique project.) I focus on the process for creating them -- and how they fit into the promise progression -- rather than the mechanics. Hope this helps!
Yes, that would be the point. If you're trying to teach people to use the best loglines (the whole message of your video), there's nothing better than examples that students can examine, study, emulate, and then use that knowledge to access their own loglines in the future.
I got some from another CZcams video where the people speaking talked about the best ones they'd heard.
There is no "process for creating them" if there is no "them" as far as your students are exposed to. Please provide you examples of the best ones. I think you're idea for your vlog is to try to help people, not hold out from them. :)
Respectfully, I disagree with your premise, and I've tried it both ways. I've been teaching this stuff for nearly 20 years, and I used to use examples a lot, until I discovered that writers only emulated the examples. I've found much better ways to teach it, which is why I go with process instead.
The basic approach is found in this video. The broader process takes literally months to teach. I'm not holding out on anybody (as I would argue my whole channel and all my hours of free content and dozens of free lessons and exercise prove)... I'm being true to what I've learned about teaching this stuff, and no longer do things that I believe are detrimental to helping writers find genuinely unique original voices that can legitimately connect with producers in their own one-of-a-kind way.
Hope this makes sense.
Dont mind if you take this idea aslong as it reaches the screen ; somebody messed with time around 2070 and created a pardox or a time loop of 100 years , now time basicly starts at 1970 ( every thing in history stays the same just on a loop and one men for some reason becomes aware of it.
Coming up with the idea is the easy part. Turning it into a compelling and viable screenplay is where the challenge rests. As this concept is incomplete as a story idea, I’m sure we’ll have plenty of stories with some variation of this basic premise in movies in years to come, and likely not from someone seeing this comment. What I’m curious about is why YOU don’t write the film YOU imagine? It will be radically different to any story told by anyone else. Ideas are everywhere but great stories are extremely rare. Wouldn’t it be better to write one?
@@fastscreenplay i cant write down any of my ideas its just really hard for me though i have no problem in speaking them or using a shadow writer cause i can see it in my head going really fast and when i try to write its like i cant rewind the story , i have more ideas that made most ppl i told about it to be intrigued for whats next and tell me if i only could write it down they would have bought the book .
Most of my ideas i dont care for royalties or money i just want to see someone take those unpolished gems and make them presentable on the screen
@@logicthinker7229 What you’re describing is the same challenge everyone has at first. No one is born with an ability to write. You simply need to develop your skills. What you’re describing is how imagination works. We see pictures that move faster than we can capture them. This is why it’s essential to practice and develop the skill of writing. And I have no doubt that other people are intrigued by your ideas, but no one’s going to write those ideas or turn them into the stories you imagine. You might think that giving away great ideas for free is a big deal, but literally everyone has ideas, and some are even complete fully-realized ideas. I myself have chronicled over a hundred ideas which are probably more viable that most, and yet it really doesn’t matter if I don’t invest the time to develop them. If I only think about them or give them away, they will forever stay as ideas.
If you choose not to develop the skills, that’s your right. But the ideas in your mind are unlikely to be turned into movies, because the people who do develop the skills are busy working on their own ideas. And creative people have hundreds of great ideas every single day of their lives (and I can show anyone how to come up with more ideas than you could use in a hundred lifetimes). But we can’t film an idea. So I encourage you to give your ideas the effort they deserve, and get good at turning them into stories, rather than abandoning them on the street by giving them away to anyone who’ll take them. ;)
@@fastscreenplay well ill try , and if one day 20 years from now ill publish one or two i hope you will get the chance to go over them
@@logicthinker7229 My system takes a year. It condenses a process that normally takes about 5-10 years. So the only way I’ll be waiting 20 years is if you don’t really try. :) I’ll keep an eye out for you.
FAST Screenplay how do i contact you? i will like to submit my logline and know what you think..
victoria oduwa If you're looking for feedback, you can use our Logline Clinic service (loglineclinic.com). If you're looking to submit your project for consideration, check to see if we're accepting submissions on the Embryo Films site (it changes), but please note that we do not reply unless we're interested in pursuing the project. (Which doesn't really tell you what I think, because it may be that the project isn't ready, or it may simply not be right for us.)
Note that my full attention is on FAST participants (and my own projects) now, so we're not really looking at blind submissions anymore. Too many years spent searching and coming up empty handed I'm afraid.
FAST Screenplay alright i understand, so when i submit my logline, for approximately how long will i have to wait for a feedback?
victoria oduwa Check the Logline Clinic page for current wait times (it changes depending on my schedule). It's usually 2-3 weeks, but sometimes takes considerably longer (or is unavailable entirely) due to other projects consuming my time. If there is an extended delay I can't avoid, I'll offer a refund. But since I never outsource it, it always fluctuates.
He looks like RDJ
Where's the next video. With the red title card?
Film Magician We're working on it. Currently juggling several projects, and these videos take a significant amount of time to produce. Please subscribe to be notified as they get released. We appreciate your patience.
FAST Screenplay
Oh okay. Can't wait! Keep up the great work, and thank you.
An inventor time travels into the past to alter a future zombie apocalypse.
Shaun Graham In general, I would advise against posting loglines on public forums. You're effectively putting the idea in the public domain. Have a look at the video above.
FAST Screenplay It's registered with the WGA! And more than an idea. It's a production ready screenplay.
Great! Just be aware that if someone else sees that here, writes a script from that idea and beats you to it, they're within their rights.
The next video (still working on it) explains why you generally want to be very targeted in where you send it. As I mention in the tease for it, most writers send their work to the wrong producers, and then get frustrated when they don't get traction. I'd hate to see you lose out on your idea because you're broadcasting it rather than marketing it effectively.
Wishing you the best of success with it, in any event!
FAST Screenplay Understood. The idea can't be protected. What do you think of sites like Kevin Spacey's Triggerstreet and Copella's Zoetrope? Do producers check those sites for interesting loglines?
FAST Screenplay Thanks! Great videos. You speak the truth. Is having an agent the best way to go about targeting producers? Is targeting producers generally the agent's job? What do you think of Pitchfest? Inktip?
0:40 oh wait you're a producer produce my movie please I'm begging you trying to start my own superhero franchise Marvel and DC are literally the only known superhero franchises and I want to change that plzzz
I’m not looking for outside submissions as I am focused exclusively on writers who go through my system, but if that’s your goal, you need to write an extraordinary screenplay based on a truly innovative idea. Note that Marvel and DC have many decades of audience built it, which is why they dominate. You’re looking to create something brand new. Either build a fan base first (probably over many years), or create an original movie that’s truly groundbreaking. Otherwise it’s hard for the big money to justify investing. Hope this helps!
Popular books become movies.
That's true. But original screenplays become movies too. :)
Hi
I thought im the only writter that hates writting a logline.....i thought there's a problem with me
Monique Dina Nope. It’s extremely common, because it’s a very challenging skill of its own (that uses all the other skills of screenwriting, too). It seems so simple - just a single sentence - but like all of screenwriting, it’s not about the sentence, it’s about everything that’s implied by the sentence. Hope this helps! Let me know if we can help further.
How's this: A farm woman struggles to feed her children after her husband commits suicide because of the California drought.
This is an interstinng idea... if it is character driven... put the part about the woman first. If it is story driven... the story should be in the first part of the logline. Example: Character driven: A farmwife struggles to feed her children during a drought after her husband's unexpected death. (in synopsis... mention the suicide). Or if it is story driven example: The California drought leads to dead crops, a dead farmer and his widow's struggle to feed her family.
if u guys here my logline right now its stolen in 0.000001 seconds!! I NEED HELP HER IM NOT A PROFFESIONAL WRITER but its all here!!! in my mind!!!!
I don't ever recommend posting your logline here... especially if you're worried about it getting stolen.
But you need to put your idea on the page - it doesn't do anyone any good in your mind. :)
As for help... what kind of help are you looking for? (I answered your question on the other video.) The craft of screenwriting will take a couple of years to master. That's what I do - I guide you through that process. If you want to hire someone, it'll cost between $50-120k. If you have specific questions, let me know.
Is this guy a producer ? What kind of projects does he look for?
Rogelio Estrada Yep, really a producer, though I've been focused for the past 15 years on trying to solve the screenplay development problem (see the first video in this series for more: czcams.com/video/rVIhBNHcpeA/video.html ). But I'm not actively looking for outside projects anymore. For more info, visit fastscreenplay.com
+FAST Screenplay Hey Jeff, earlier today I asked about loglines - and here it is all along. Great stuff. Thanks a million.
I responded to your earlier comment just now before seeing this one. :)