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    Logline, Ejemplos y Creacion - NA

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    Victoria Sofia Cañas
    This document provides guidance on writing loglines and treatments for film projects. It explains that loglines are 1-2 sentence summaries that pitch the narrative arc, character goals and conflicts in a hook. Treatments are detailed, scene-by-scene summaries that serve as an extended outline, typically 30 pages or less for features. The document offers tips on structure, such as including character names in caps and using active verbs and third-person present tense in treatments. It provides checklists for ensuring treatments have clear concepts, themes, character arcs and resolve conflicts through descriptive writing only of what is seen and heard.

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    Logline, Ejemplos y Creacion - NA

    Uploaded by

    Victoria Sofia Cañas
    37 views18 pages
    This document provides guidance on writing loglines and treatments for film projects. It explains that loglines are 1-2 sentence summaries that pitch the narrative arc, character goals and conflicts in a hook. Treatments are detailed, scene-by-scene summaries that serve as an extended outline, typically 30 pages or less for features. The document offers tips on structure, such as including character names in caps and using active verbs and third-person present tense in treatments. It provides checklists for ensuring treatments have clear concepts, themes, character arcs and resolve conflicts through descriptive writing only of what is seen and heard.

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    Logline, ejemplos y creacion - NA

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    This document provides guidance on writing loglines and treatments for film projects. It explains that loglines are 1-2 sentence summaries that pitch the narrative arc, character goals and conflicts in a hook. Treatments are detailed, scene-by-scene summaries that serve as an extended outline, typically 30 pages or less for features. The document offers tips on structure, such as including character names in caps and using active verbs and third-person present tense in treatments. It provides checklists for ensuring treatments have clear concepts, themes, character arcs and resolve conflicts through descriptive writing only of what is seen and heard.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    37 views18 pages

    Logline, Ejemplos y Creacion - NA

    Uploaded by

    Victoria Sofia Cañas
    This document provides guidance on writing loglines and treatments for film projects. It explains that loglines are 1-2 sentence summaries that pitch the narrative arc, character goals and conflicts in a hook. Treatments are detailed, scene-by-scene summaries that serve as an extended outline, typically 30 pages or less for features. The document offers tips on structure, such as including character names in caps and using active verbs and third-person present tense in treatments. It provides checklists for ensuring treatments have clear concepts, themes, character arcs and resolve conflicts through descriptive writing only of what is seen and heard.

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    of 18

    Loglines and Treatments: How

    to Write Them

    COLUMBIA COLLEGE CHICAGO


    WRITING CENTER
    THE LEARNING STUDIO
    SPECIAL THANKS TO KATHERINE O’BRIEN
    Loglines

    —  These are used to pitch your story in one-two


    sentences.
    —  They reduce the story to a “hook.”
    Your loglines should…

    —  Indicate the full narrative arc (the story’s beginning,


    middle, and end)
    ¡  Structure the logline act by act
    —  Reveal character, goal, conflict, and theme
    ¡  Unless iconic, do not mention character by name

    —  Have an obvious “hook”


    ¡  Make us want to see the film!

    —  Be concise, but thorough


    ¡  Two sentences are okay
    Ending a logline

    —  They should be open-ended. But, when writing


    industry coverage, include conflict resolution.

    —  Examples from The Ramen Girl (2008):


    —  Open-ended for pitch: An aimless American
    woman, abandoned by her boyfriend in Tokyo,
    impulsively decides to train as a ramen chef under a
    master who is impossible to please.
    Ending a logline (continued)

    —  Conflict resolution specified for studio coverage:


    An aimless American woman, abandoned by her
    boyfriend in Tokyo, impulsively decides to train as a
    ramen chef under a master who is impossible to please,
    and ultimately discovers her true calling and takes over
    his shop to carry on his legacy.

    —  Open-ended for the audience (from IMDB): An


    aimless American woman is stranded in Tokyo after
    breaking up with her boyfriend. Searching for direction
    in life, she trains to be a ramen chef under a tyrannical
    Japanese master.
    NOTE

    LOGLINES AREN’T TAGLINES!!!

    A TAGLINE IS A MARKETING TOOL TO GET


    YOU TO SEE THE FILM.
    A formula for loglines

    —  [Who, with an adjective] [faces what conflict]


    [learns/does what] [to pursue/achieve goal] [but
    the conflict is intensified] [the character passes
    the test/suggest thematic resolution]

    —  [Who, with an adjective] An aimless American


    woman, [faces what conflict] abandoned by her
    boyfriend in Tokyo, [learns/does what] [to pursue/
    achieve goal] impulsively decides to train as a ramen
    chef [but the conflict is intensified] under a master
    who is impossible to please [the character passes the
    test/suggest thematic resolution] and discovers her
    true calling in life.
    Treatments

    A HOW-TO GUIDE
    What is a treatment?

    —  A detailed, scene-by-scene summary of the story

    —  Serves as extended outline for those developing story

    —  Treatment stage is when all involved may agree upon


    story structure, tone, message, and selling points
    Length of treatments

    —  Short films, no dialogue: half the length of film (1


    page for every 2 minutes)

    —  Short films, with dialogue: half the length of film


    (1 page for every 2 minutes)

    —  Short documentaries: no longer than the


    proposal (3-5 pages)
    Length of treatments

    —  Feature film: 30 pages, MAXIMUM

    ¡  Cover major turning points, detail sequences, summarize


    objective for each scene

    ¡  10:1 ratio—major turning point for every 10 pages of script


    should be 1 page of treatment
    Treatment format conventions

    —  Do not use slug lines to set scene


    —  Just write the story: no interruptions, no
    embellishments
    —  Use active verbs
    —  What we see on screen should be conveyed in
    paragraphs without indentations—hit [return/enter]
    twice between paragraphs
    —  Avoid dialogue
    Treatment format conventions

    —  Characters introduced in CAPS, followed by age in


    parentheses:
    ¡  JOHN (22) flags the BARTENDER (50s). Orders a drink. John
    toasts the bartender.
    —  Describe only what is seen and heard on camera—no
    desires, emotions, or thoughts of characters
    —  Write in third-person, present tense
    Treatment Checklist

    CONCEPT IS CLEAR
    MAIN IDEA IS ARTICULATED

    WE GET WHAT STORY IS ABOUT


    Treatment Checklist

    THEME IS DEVELOPED
    A MESSAGE TO THE STORY, ELEVATING THE
    CONFLICT

    THE THEME IS A PREMISE THAT STRUCTURES


    THE NARRATIVE
    Treatment Checklist

    PLOT HAS AN ARC


    CLEAR BEGINNING, MIDDLE, AND END

    PROTAGONIST, GOAL, ANTAGONIST PRESENT

    STAKES FOR CHARACTERS ARE CLEAR AND


    MATTER

    CONFLICT IS RESOLVED
    Treatment Checklist

    CHARACTER HAS AN ARC


    AVOID STEREOTYPES/CLICHÉS

    CLEAR AND LOGICAL MOTIVATIONS/GOALS

    OVERCOMES ISSUE/WEAKNESS

    CHANGES FROM BEGINNING


    Treatment Checklist

    DESCRIPTIVE WRITING
    LIMITED TO WHAT IS SEEN AND HEARD

    NO CHARACTER DESIRES/EMOTIONS

    NO CAMERA DIRECTIONS

    ACTION DOESN’T MERELY LIST PLOT POINTS

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