By Branden Bell
His argument centers around starting your writing process by creating something called a logline (your entire movie summarized in a sentence). He would say, if you can’t do this in a compelling way from the start, then you don’t have a story worth telling.
Knowing where to start in the creative process of writing can be daunting for a first time filmmaker. I know it was for me. I’ve tried building a story around every possible thing imaginable, and I found Blake Snyder’s longline method from his infamous book, Save the Cat, to be the most effective.
Many of you more seasoned writers may find this approach “formulaic,” however for writers starting out, this is a great place to begin.
Ingredients for the best logline:
- One Character
- One Goal
- One Source of Conflict with a dash of Irony
In short what you will be creating is the following equation:
Your hero is going for their goal, but something ironic happens to stop them.
If you cannot put your story within this simple formula, then perhaps your story is too complicated, OR missing a crucial element.
Disgraced pilot, E. Ripley is left with PTSD after her encounter with the xenomorph and tries to rebuild a life for herself. However, when a human colony is overrun with xenomorphs, Ripley may be their only hope.
From the film Aliens
Element 1: Establish Your Hero
The first step is to insert your main character into your logline. This isn’t a place to go into great detail on their backstory; all that’s needed are one or two descriptive words. Sometimes the scenario they find themselves in is sufficient enough information.
As Blake Snyder says, you want to paint a clear enough picture in the minds of those who will hear your logline. They need to be able to see where your story is going. This includes who your character is.
In my example, I defined Ellen Ripley as a disgraced pilot with PTSD. We know she’s an underdog, and it will be easy for the audience to get behind her.
Element 2: Establish Your Hero’s Goal
The next step is to show what the character is trying to accomplish before they are confronted by the story’s major conflict.
In Vertigo, Scottie is investigating Madeline for her husband (his goal) before he begins to fall in love with her (the conflict).
In Beauty and the Beast, Belle wants more than what her small town has to offer (goal) before she is held prisoner in an enchanted castle (the conflict).
Sometimes the goal can be something more passive, or simply keeping the status quo. For example, in Toy Story, Woody isn’t actively trying to do something new, but is enjoying the “status quo” of being the toy on top.
Don’t just tell us WHO your character is, but where we find them at the start of the story.
For Ellen Ripley, I have her trying to rebuild a life for herself.
Element 3: Conflict with a Dash of Irony
Lastly, we introduce our story’s major source of conflict into the logline.
This is where people tend to struggle the most, either because they realize they have no real source of conflict throughout their story. Even if they do it’s lacking the crucial element of irony which gives a story it’s hook, edge, or bite.
Conflict is truly what starts your story and what moves it forward. Without this element, there is no story.
In my example from Aliens, the conflict comes from the xenomorphs overtaking a colony, forcing the corporation to turn to Ripley for help.
It’s conflict, because it’s both stopping her from starting a new life, while giving her an opportunity to gain her old life back.
Before I explain how irony comes to play in this equation, let me explain what irony IS. There are two forms of irony: situational and irony of fate. Situational irony is when events defy expectations, while irony of fate is when it seems the gods, fate, the universe, etc are toying with humanity for their own amusement.
Situational irony would be getting robbed by a police officer (an amoral act practiced by someone who is sent out to stop such behavior). Jesus being crucified by the very people he was to save is another great example of situational irony. Both examples play on your expectations and subvert them.
Irony of fate is when something occurs with lasting consequence beyond a specific situation. A former athlete who is now paralyzed is an example of irony of fate. Beethoven, one of the world’s greatest composers lost his hearing. He can no longer hear the beautiful music he puts out into the world. Irony of fate.
Irony is all about subverting our expectations in an effort to hook us.
The irony in Aliens is drawn mostly from the situation Ripley finds herself in; she was seen as a pariah and a liability by the company at the start of the film, and becomes the very person who could save them.
There’s no right way to go through the writing process, but by beginning with a logline my writing has grown simpler and stronger. I hope it helps you on your own writing journey. For more great film advice, check out Blake Snyder’s book, Save the Cat.