An excellent series: some old techniques, some new, but all good ways for a writer to train themselves to think. This could easily be a series you could repost once a year for new visitors - and it never hurts for those have read it before to be reminded of these techniques...

I agree Debbie, this is something that would be good to be reminded of every so often because of its importance. I know that I have started looking at ideas differently since Scott started talking about loglines. I realized pretty quickly that my first idea was crap and even though I might like it, it just wasn't worth me wasting a full year or so on. So thanks Scott! And keep em coming! =)

I find it helpful to write a logline for myself first. For these personal loglines, I really like to start with Jeff Alan Schechter's method, which is this: "When a TYPE OF PERSON has/does/wants/gets A, he gets/does/tries/learns B, only to discover that C now happens and he must respond by doing D.” From there, you can get an idea of the strength of your entire story because "A" becomes your "Orphan" stage, "B" your wanderer, "C" your warrior and "D" your martyr. (Or, sometimes I will write a logline that has the character at the start, the character at the mid-point and what the character is trying to do in Act 3.) BUT you should also look at your what your mid-point would be as well and that is a nice spring-board into the outlining stage. There is a reason to write your logline first even if you don't show it to anyone. However, for managers and those folks like "Producer Scott", I would focus more on the "hook", which is very often the conflict between the Hero and the Antagonist. If you try and take a O/W/W/M logline to a producer, it'll probably be too long but it's a great tool to give a broad overview of your story. It makes it easier during outlining to figure out what you don't need and what you definitely do.

So for every finished logline I present to a producer or manager sort of person, I've probably done at least 2 possibly 3 versions of that logline....

I definitely appreciate being reminded of/getting a new perspective on the basics. Sometimes work becomes such a habit that you don't realize how much you could benefit from training camp, or simply by relearning things you were originally taught by a lousy teacher. I have thoroughly enjoyed the last couple of weeks. Thanks for all the hard work you put into the blog.

I'm actually thinking about expanding the series and doing an eBook [several people told me I should do that]. I guess there's a paucity of books / guides about this type of thing which shocks me because it is SO important to the success of a spec script.

Brandi, your comment alone makes me feel like this series was worthwhile because that is - bottom line - the point: Don't waste time writing a script with a marginal concept because it won't sell! Much better to devote a few additional months or however long to come up with a killer idea.

Ben, you are absolutely right: When you query a manager or happen to catch a producer at just the right time, give them the hook. Immediately. It's what I call the 'conceit,' the most basic unique aspect of what your story is about. Cop and a police dog. Guy's quest for a condom. Two kids and a polar bear cub. If you hook them, then you can hit them up with the logline or pitch / treatment.

typingprincess, glad to hear. Story ideas are probably the most basic aspect of screenwriting so we may think we've got it down. But we - and I include myself in that - can ALWAYS learn new tricks or shift our perspective just a bit to allow us to see things differently.

I feel like The Quest is like the MasterChef of screenwriting right now, lol. Or Hell's Kitchen: Screenplay Edition. Loglines = Rossotto. I try to avoid "reality" TV but with that said, Gordon Ramsay is an interesting dude. Thanks for doing all this, Scott. It's keeping us all on our toes.

You should definitely do that, Scott. Lord knows the world doesn't really need any more 'How to' guides for screenplay writing, but there'll always be a market for clear, practical advice about and reminders of the most important factors necessary for telling stories effectively.