![]() Here’s the formula in practice, with constituent parts identified in brackets: In a (SETTING) a (PROTAGONIST) has a (PROBLEM) caused by (an ANTAGONIST) and (faces CONFLICT) as they try to (achieve a GOAL). One of the best known formulas is distilled as the Killigator TM method put forth by British author Graeme Shimmin. If that sounds easy, you’re not doing it right. Author and screenwriter Jeff Lyons defines the logline as “the narrative essence of your story that conveys the high concept, the tone, and core emotion of your premise, and does all this in one short sentence (or two).” The good news is there are formulas you can tap into to guide their construction.Ī good logline is an elevator pitch on steroids-powerful and able to deliver a quick knock-out punch. ![]() The bad news about loglines is they are notoriously difficult to write well, especially if you’re an author close to your own work. Whatever you call it, you need a logline to grab a micro-second of an agent’s, publisher’s, or producer’s attention, and even, in some cases, a reader’s. You may hear it called a teaser, a pitch, or a hook (craft purists will argue these are all different, but let’s not quibble over semantics). The logline grew up in Hollywood’s film industry, but it’s been adopted by the book world. So let’s get acquainted, shall we? The Logline: Sell the sizzle You won’t get too far in publishing (or querying) without these trusty companions by your side. Seriously, all but the most pampered authors today need to befriend the Logline, Synopsis, and Flap Copy. Little by little, you come to depend on them-each of them-and you learn to appreciate their quirks. But after hanging out with them awhile, they kind of grow on you. These guys each have their own personality. The Synopsis blabs on and on indiscreetly, and the Flap Copy gets everyone’s attention with some short, pithy observations. The Logline utters two sentences, then shuts up. All three are essential, though they each serve a different purpose, but what they have in common is that they need to be compelling and to the point, without any wasted words, in order to capture the interest of their intended audiences as quickly as possible.Īuthor Amy Bernstein has plenty of experience writing all three forms, and is here today to help explain when and where to use each one, as well as tips and best practices on writing them in the first place.Ī Logline, Synopsis, and Flap Copy meet up at a writers’ conference (or a bar, if you’re in that mood). ![]() When it comes to sending out queries or even publishing, there are three challenging forms of book marketing copy that authors need to master.
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