Loglines are tricky things – distilling 120 pages of script into one sentence and imbuing it with the power to summarise, titillate and intrigue is a surprisingly difficult task. As a writer it can be hard to develop a good logline because you are invested equally in each part of your work – identifying the crucial story elements and leaving everything else out feels like you aren’t doing your script justice. But remember, a good logline is crucial to selling your script; in a covering letter, in a pitch, in the 30 second window you have with an executive when you accidentally meet on the Great Wall of China. That being the case it is vital that you develop a good logline for your magnum opus, something with sizzle and pop, but also, crucially, something that tells the audience what the script is about.

The difference between a logline and a tagline

A logline is a one (or occasionally two) sentence description that boils the script down to its essential dramatic narrative in as succinct a manner as possible.

A tagline is a piece of marketing copy designed to go on posters to sell the film

- In space no one can hear you scream (Alien)

Crucially, a logline contains all the elements necessary for the telling of a good story. It is written for industry professionals to show them that you can create a viable story for the script - a marketing hook alone won't cut it.

One further note that you won't like: A logline is the DNA of your script. If you can't make the logline work, it's probably because the story in your script doesn't work. This is why some people suggest writing a logline for your idea before embarking on the script.

Not sure where to begin? These tips are going to help:

1. A logline must have the following

-       a CLEAR protagonist
-       his/her goal, intention or desire
-       the obstacle / antagonist /antagonistic force
-       reflect the genre in 'tone' or 'convention'

2. Don’t use a character/protagonist name

It has no intrinsic information and so is a useless word. Instead, tell us something about the character.

- A sous-chef
- An ex-superhero
- A London cop
- A dance instructor


3. Use adjectives to give depth and specificity to a character

This is your chance to reveal the uniqueness and specificity of the character. Use personality or style or habit descriptors, rather tahn physical descriptors. Beware of cliche, and also of the power of irony. The characteristic you describe should have something to do with the plot.

- A self-sabatoging sous-chef
- An alcoholic ex-superhero
- A Wall Street high roller

4. Clearly and quickly present the protagonist’s main goal

Also known as the 'intention' or 'desire:' What does the protagonist want?  This is what drives your story and it will drive your logline too. (For your script:  Make sure that the goal is present early in the script - if you don’t make good on your logline’s promise early enough the rest of the script won’t get read.)

- A self-sabotaging sous-chef must win the position of Head Chef at her boss' new restaurant...

- An alcoholic ex-superhero searches for his daughter after ...

5. Describe the Antagonist / Obstacle

The antagonist should be described in a similar but shorter manner than the protagonist. Not all stories have a clear or main antagonist, but it MUST have an OBSTACLE to the protagonist's desire or intention. If the protagonist faces a more general antagonistic force then make it clear that they are battling something, not just life’s bumps and grinds.

- A self-sabatoging sous-chef must fight off an ambitious rival to win the position of Head Chef at her boss's new restaurant.
- An alcoholic ex-superhero searches for his daughter after she is kidnapped by his jealous former sidekick.
- A disgraced soccer athlete must battle his reputation in the sports community to lead his team to the World Cup.

6. Use ACTIVE language. Make sure your protagonist is driving the action

He or she should drive the story and do so vigorously. Don't crowd your logline with things that 'happen to' your main character (this is the inciting incident or other plot points). A good logline will present the protagoinst first, show the action of the story deriving form the main character, and give the narrative momentum that carries you through the script. In some cases the protagonist will be reactive, but note, this is not the same as passive.
- After meeting a woman at a party, a retired school teacher finds himself falling in love with...  VS.
-  A retired school teacher falls in love with a woman who...

7. If you can, include stakes and/or a ticking time-bomb

These are very useful narrative devices that add urgency to your script. If they fit in easily, include them in your logline.

- To save his reputation, a secretly gay frat-boy must sleep with 15 women by the end-of-semester party.

8. Setup

Some scripts operate in a world with different rules to our own and require a brief setup to explain them, e.g. most science-fiction stories. Others have a protagonist whose personal or psychological history is crucial to the story and needs to be explained. Again, be brief.

- In a world where all children are grown in vats...

- Driven to a mental breakdown by an accident at work, an aquarium manager...

9. About the ending

Do not reveal the script’s supercool twist ending, even if it is the next The Usual Suspects. BUT, the reader should have a sense whether the ending will be positive or negative, and this should correlate to or be within the guidelines of the stated GENRE. The logline, should be good enough to hold up by itself without revealing a specific surprise ending.

10. Don’t tell the story, sell the story

Create a desire to see the script as well as telling them what’s in it. Loglines are like haiku poetry, every word counts. Tinker, test, and tinker some more.


If you can't write a decent logline of your idea before embarking on the script, then maybe reconsider writing that thing. If it's unfocused and muddled at the logline stage, it's not going to get any better as you write.

Good luck, and feel free to submit samples in the comments box.

James Burbidge
James performs a plethora of tasks for Raindance; writing articles, editing the newsletter, managing Twitter, helping on courses, organising volunteers and running the script services are but a few of the ones he is allowed to tell you about.

When he isn’t daydreaming about daylight he watches films (well, duh!) reads a bit, writes a bit and plays Ultimate Frisbee a bit too seriously.