I want to express my thanks not only for the opportunity you've presented here but also for the amazing kick in the pants this has been. I've been a productive filmmaker/screenwriter for a decade, but for whatever reason have not made the commitment to turn it into my job. This application process has me more focused than ever before on methods that will help me get to the next level. Above all, I need to write, but these exercises in the proper idea space and selling points of a script have made a ton of difference and have been wonderfully inspiring. It's exciting to see your ability to motivate and push creativity - whichever writer has good enough loglines for you will clearly be in good hands.

Thanks, DJ, for your kind words. You're picking up on something I haven't discussed, but should be apparent to those with eyes to see. I am taking the long view here. It amazes me how little attention gets paid to story concepts when they represent such a significant amount of the value of a script. So what I'm trying to do is provide not only specific actionable tips on how to generate story ideas, but also a whole way of approaching the subject. If this general discussion related to "The Quest" helps writers become more proactive and professional in how they manage their story-generation process, great. One small step forward. Hopefully we'll have some writers who emerge from this go-round with strong enough story concepts combined with backgrounds and writing talent to do "The Quest." But long term, assuming I do this again, which I think I will, maybe that NEXT round of story ideas will be a bit better. Coming up with story concepts is a skill-set and must be honed and developed like any other. If for no other reason I hope this broader conversation surrounding "The Quest" helps writers advance their abilities on that front.

I completely agree with DJ that the Quest has already helped me step up my game and I've lost a lot of hours of sleep staring at the ceiling, jotting down ideas and driving my husband crazy with "What about THIS??" Here's where I seem to run into trouble: I'm particularly trying to tie into your desire to see a great concept for Action Comedy. But the two ideas I submitted so far have lived with me as little baby seedlings for years. And through this process I felt like I really forced myself to hone those ideas and dress them up nice for you(and let's face it, really for Producer Scott) I honestly have come up with a lot of ideas this week, but they feel so sloppy and undeveloped compared to what I have already submitted. Would you rather see the raw beginnings of a concept rushed into a logline OR would you rather we just stick to our most rock solid concepts? And second question: I have admittedly ZERO experience writing in the Action Comedy genre. I believe I can write in any genre. But, I have nothing to back up an Action Comedy logline. If you were to ask for a writing sample(fingers and toes crossed), how important is it to you to see the same genre to which we are submitting? And finally, thank you, thank you, thank you. IMHO, these past few weeks have done what you intended. Ideas they are a flowin'. :)

Summer, I don't really know how to answer this. The Quest workshop is certainly set up so that a writer can take the merest story concept to a complete first draft. But in terms of me assessing it, I go back to those posts I did: It has to have a grab, indicate which way the story goes, a target audience, Protagonist, etc. What that can be, it just depends. One idea someone sent me is literally a title: 6 words, but as soon as I read it, I knew it was a winner. It grabbed my attention, I knew the genre, I could see the story, and if executed well, I could very easily see it selling. So it can be as simple as that. So if what you've come up with represents a strong conceit [go back to my post on concepts to see what I mean by that], and that's all you have, then put that into the best shape possible and send it to me. Re writing sample: If you don't have something to support, say, an action-comedy, and I request a writing sample, send something shows your writing skill. I will also be talking with every possible participant and we would discuss that very question: Do you feel you could write an action-comedy? That conversation would likely make clear the answer. One thing for sure: After everything settles down, I'm going to spend an entire month on GITS focusing on story concept and loglines. It is so important and from the feedback I'm receiving, nobody much talks about it. As I mentioned elsewhere, I'm taking the long term view of The Quest, using it to help all of us elevate our games when it comes to generating quality story concepts. But that's down the road. For now, let's focus on the 3+ remaining days to submit loglines for "The Quest."

I look forward to some time spent on concepts and loglines. Loglines are definitely my weak spot when we're talking about creating them before my story is written. For The Quest, I shot you loglines for the stories I'd like to write next and yet having not written them and done little more than made a few notes, writing the logline is tough! And when you consider that the goal for any of us here is to sell a spec and then (ideally) never write for free again, pitching a concept/logline prior to the writing seems daunting. Then again, that in and of itself probably tells me nothing I sent is "high concept" enough.

Donna, as I mentioned elsewhere, I'm taking the long view with this. All of us have something to learn about story concepts and loglines. We'll work on that together which will benefit writers in the here and now. And if, as I suspect I will, do another session of "Go Into The Story: The Quest," hopefully people will have an even higher quality of story concepts.

I'll be sending my loglines off shortly. Hope they don't have producer Scott reaching for the Wild Turkey (101 proof).

Ladies and Gents, through the miracle of super secret closed circuit television, I was able to secure a quick clip of Producer Scott in action at the office! http://www.youtube.com/watch?v=D1caQuoW5HM

A bit OT, but the whole idea with the sentient nuke reminds me of John Carpenter's first feature Dark Star, where one of the protagonists must defuse such a bomb, the infamous Bomb 20, only using philosophy. http://www.youtube.com/watch?v=qjGRySVyTDk

Ha! That was Producer Scott about 30 years ago. Plus he's left-handed. But Spacey's arm motion is pretty accurate [Producer Scott hurls jelly beans. He loves jelly beans.]

Lars, there was another movie that came out about a woman robot who was an armed nuclear bomb, can't remember the name. Again similar but different.

Heehee, Bomb 20 was a great character: "Let there be light." As for the woman-robot-bomb movie, w/o googling I think it was EVE OF DESTRUCTION.

Yes, gold star to Jasper. I was thinking of "Eve of Destruction" starring Gregory Hines. Thanks!