9 Components Of The Perfect Logline (Part 2)

This entry is part 2 of 2 in the series Logline:

4) Triggering Event

In the logline, a triggering event describes the change in circumstances that creates the conflict to be resolved in the climax. Some call it the inciting incident or inciting event, others call it a catalyst. Whether a specific event, or the final straw in a sequence of compounding events, the trigger forces the main character to act with intention towards a desired outcome. More simply put, the final event triggers the start of the story and points towards a potential climax. Conversely, the climax points back to the trigger.

The final triggering event will have consequences for inaction that force the character to act towards their desired outcome. These initial stakes must be high enough to force the reluctant hero or protagonist to act.

Returning to Ferrari, with his company failing to be profitable, Enzo may need to partner with another company to stave off bankruptcy. However, to protect his company during WW2, he made his wife Laura (Penélope Cruz) the legal owner of the company. Now, in order to negotiate with a potential partner, he needs the company back in his name. Normally, this isn’t a conflict. However, Laura is also mourning the death of her son. She accepts that Enzo is a philanderer – until the final triggering event, when she discovers he has a second family with Lina Lardi (Shailene Woodley).

5) Goal

A goal may manifest in various ways for the different main character types. It may be an active goal, such as for the protagonist, or a reactive goal, such as for the hero. The “resister” may not seek a specific goal until late in the story, while the trailblazer may have always felt they cannot conform.

The goal described in the logline must be clearly defined and external to the character. An external goal is easily visualized and allows the reader to track the character’s progress through the story. Not only must the goal solve the main character’s story problem, it must also be achievable in the climax when they run out of time or options.

In our example, Team Ferrari must win a prestigious road race for his company to become attractive to a partner, but more importantly, in order to secure this manufacturing partner, Enzo must get back full control of the company from his wife.

6) Stakes

Goals and stakes are inexorably linked. The main character must successfully achieve their goal to stave off the negative consequences. Stakes can be relatively large or small, but, to the main character, they are a fate worse than death, metaphorically or literally. For the protagonist, stakes are deeply personal. However, for the hero the well-being of others is usually most important. Whatever the main character type, the logline describes the negative consequences that matter most to them.

Returning to Ferrari, if Team Ferrari doesn’t win the Mille Miglia, and Laura refuses to sign over control of the company, he will lose not only his company, but his ability to race.

7) Flaws & Descriptions

With the limited number of words in a logline, the best descriptions focus on the main character’s unrecognized internal limitation or deficiency — their emotional or psychological Achilles heel that puts their success in doubt. This major flaw typically represents the main character’s internal conflict which they must acknowledge and overcome in order for them to achieve their external goal. A single, strong adjective to describe the character or flaw can add a tremendous amount of complexity to the logline.

In our example, Enzo Ferrari can be described with words such as stoic, driven, ultra-competitive or even perfectionist. However, when it comes to the central conflict with Laura, the one trait that will make his goal harder to achieve is “philanderer.”

8) Tone

The logline must accurately reflect the mood and attitude of the script. The first step is to be clear with the tone of the script. Is it serious or light? Formal or informal? Does the script meet the expectations of its genre? For instance, a teen comedy should be light and fun, not read like an Oscar-bait drama. With the limited number of words in a logline, word choice becomes vital.

For our example, let’s identify the tone of the script for Ferrari. It is deliberate and formal. It takes its subject seriously. The logline for Ferrari should emphasize both the story’s action and drama.

9) Length

A logline is typically one sentence long of about 35 words. These are not absolutes. It can be two sentences, for instance, if the world or context requires more explanation. Clarity and brevity are key. Like the poet, the writer must find ways for words to serve multiple masters.

However, if it is shorter than say 30 words, the logline might actually be a premise line, which does not describe the specifics of character, plot, or stakes. As described in my article on the Four Promises, the premise is the promise of conflict whereas the logline is a description of conflict.

Bringing It All Together

Understanding these elements individually will make it much easier to write a solid logline. When writing out each of the elements, as we did in the example, don’t worry about length. Write each out as you would describe it to a friend. Most importantly, describe the elements as they are in the story. This is an important clarifying step that should not be skipped.

Now is the time to restate each element briefly. There will still be some fat to trim.

Context/Setting: Italy, 1957. Mourning the death of his son, Enzo throws himself into road racing, leading to potential financial ruin.

Flawed Main Character: The philandering Enzo Ferrari

Opposition: His wife, who has financial control of the company. She seems willing to help until she discovers he has a mistress and illegitimate son – a second family.

Goal: Team Ferrari must win a prestigious road race, but more importantly, Enzo must get back full control of the company from his wife.

Stakes/Consequences: Enzo may lose the company and his ability to race.

Once the central conflict has been clarified, the writer can then rewrite all the components as one idea. The first attempt will likely not be a single sentence, but keep at it. Rewrite, reduce, concentrate it down to about 35 words, always focusing on just the central conflict. And have fun!

First Attempt: Mourning the death of his son, the ultra-competitive Enzo Ferrari throws himself into road racing, leading to potential financial ruin. Now Team Ferrari must win a prestigious Mille Miglia to become attractive to a potential partner, but more importantly he must get back full control of the company from his wife, who has financial control of the company. But she’s discovered he has a second family.

At sixty six words, and multiple sentences, this is a short synopsis rather than a logline.

Second Attempt: Mourning the death of his son, the ultra-competitive philandering Enzo Ferrari faces financial ruin unless his team can win a prestigious road race, but first he must regain control of his company from his heartbroken wife who has just discovered he has a second family.

Here we have 45 words. This is a bit long for a logline. Let’s try it without the references to the death of his son, focusing more on the central conflict between husband and wife.

Final Logline for Ferrari: In 1957 Italy, philandering Enzo Ferrari faces financial ruin unless his team can win a prestigious road race, but first he must regain control of his company from his wife who has just discovered he has a second family.

Here we clock in at 39 words. The tone is formal and serious, much like the script. The conflict describes both of Enzo’s needs, to make his company attractive to investors, and to get control of the company back from Laura.