Ah Producer Scott, I have to ask this. I have a logline. I believe it to be worthy but to convey the whole story it is two sentences. I know it's a crime and I don't want to commit one but I don't see any other choice. The first sentence is a grab but the second sentence explains the truth of the story. So question, is this a condemnable sin? or a potential okay?

Producer Scott is off to his daily sojourn at Musso and Frank, so afraid he's not here to respond. Two sentences is fine. And I don't subscribe to his six word theory, by the way. I do, however, embrace his idea that the logline has to grab someone's attention. Sometimes two sentences can do that very well. For example, "Grim Night":

Once a year globally, people lock themselves at home and fend off the senseless and random attacks by Grims. Tonight’s that night.

First sentence is the hook. Second sentence is the grab.

"You got six words… count ‘em… one, two, three, four, five, six… six words in your logline to get my attention." Does he mean the first six words of the logline? If so, I'm officially scared right now. I know you don't agree with him on this, but does he really mean the first six? By the way, the reward of working with producer Scott alone is worth fighting for. Special forces style, baby.

Not the first six words. And of course, once you get to know Producer Scott, his bluster can often be the result of his instinct for hyperbole. But the main takeaway about the importance of concept and the way it's articulated in a logline is spot on. An example is K-9: "Stubborn policeman partners with police dog." That's the conceit of the movie. Six words and you get it. Not all stories can be reduced to that, of course. And again I'm not looking at the loglines that way. But the six words is a good touch point to really challenge yourself [and by yourself, I mean everyone] to come up with a tight, compelling central story conceit.

That's hard to do, but, yes, if you can get someone's attention with the six words that summarize your concept, you got a winner.

*deepbreath/sigh* Copy that. I am double checking that my logline does indeed do that. And, thanks. Appreciate the write back.

CHARIOTS OF FUR: Dog in a wheelchair attempts marathon!

K-9 LIVES: Jerry Lee Meets That Darn Cat!

I prefer to call you Jedi Scott. :-)

Just a thought- if the logline can hint that most of these questions will be answered, it might be a good story: http://www.donedealpro.com/members/details.aspx?object_id=287&content_type=1&section_id=13

MANELINE: Lion gets loose on bullet train.

I love Producer Scott. Unfortunately, all Producer Scott reinforces to me is "Nobody Knows Anything." Thank you, William Goldman. I don't mean PS doesn't know anything, I mean I know nothing, and the more I learn the less I know. I know you urged us to write one well-crafted logline, but since I can't gauge Producer Scott's mental, financial or alcohol state at the time he'll read my logline (or regular Scott's, for that matter), I'm coming up with as many story concepts and loglines that meet your criteria as possible, and hope at least one of them stick. I know it gives you way more to wade through, and apologize in advance if they suck or simply don't meet your interest. You've certainly motivated me to storm through story concepts and learn how to do many of them, one after another, so thank you for that new skill.

Would you encourage people who have never written before to not apply to "The Quest"? I have been thinking about trying writing, and this contest seemed like a good way to challenge myself to stop thinking and start doing.

Yossi, you're absolutely right, nobody knows anything. I have made my own public confession about how I got it completely wrong re Forrest Gump. And you should ask Producer Scott about what he thought of James Cameron doing "Titanic." A complete whiff. Underlying your comment is this fact of life, too: Sometimes you just get lucky. You can bust your hump trying to come up with a killer story concept and nothing good comes of it. Then you can be preoccupied sitting on the commode when out of the blue, an idea hits you. My theory on that -- not the sitting on the commode part -- is that the more you prime the pumps of your imagination working on story concepts, the more likely some wondrous bit of creative surprise can happen. It's like your hard work churns the soil, upending some nuggets, then you blindly stumble over one, just sitting right there. So yes, come up with a lot of ideas. As Nobel Prize winner Linus Pauling said, "The best way to come up with a good idea is to come up with a lot of ideas. Just before you submit anything to me, make sure it's a movie, make sure it will get my attention, and make sure you think in all honesty it's a good idea.