5 Tips for Crafting Your Perfect Writer Bio

By Screenwriting 101

Putting the entirety of your life’s works, experiences, and accomplishments into a few sentences can be a daunting task even for the most talented writer, and one filled with lots of uncertainty. What do I include? What do I leave out? Should I be brief but not too brief? Do they care where I went to school?

Writing a bio– like writing– is more of an art than a science. We’re here to help you hone this art, and write bios that best showcase yourself to the industry.  Recently, we reached out to our network of literary reps who provided kernels of wisdom to guide you in writing your best bio.

1. Share your unique voice and perspective

“Focus on what makes you unique.” – Cassie Duffy, Kaplan-Perrone

“How would you pitch yourself on why you NEED to be hired?” – Audrey Knox, Cartel

When writing a bio, many writers feel a need to mention general information about their hometown, where they went to school, or why Reservoir Dogs is their favorite movie. The problem is, that info is true for thousands if not tens of thousands of other writers. When including info, really focus on what perspective or characteristics you have that set you apart from the crowd.  Be wary of putting your educational highlights, especially if you went to a common writing school (“…everyone’s gone to USC”).

2. Connect with them and make them smile

“Be funny. And if you can’t be funny;  have style.” – Harris Kauffman, Storyboard

Get creative with the writing– you are a writer after all. If you’re a comedy writer, your bio should definitely include a joke or two. If you’re more on the drama side, your bio definitely shouldn’t make anyone cry, but it should display some of the writing craft you’re asking this person to read more of. Avoid anything standardized or boring at all costs.

3. Keep it short

“Only include information that matters.” – Derrick Eppich, Empirical Evidence

If your bio is longer than 3-4 sentences, cut cut cut.  This is an elevator pitch about yourself, not an autobiographical book.  Imagine you’re speaking your bio, word for word, to a manager, agent, or producer.  How long would you make it before you’ve lost their attention, or worse, they interrupt you to get on with it?  You have even less time to make an impact on your bio. The sweet spot is three sentences and between 300-400 characters following the structure of: recent accomplishment or development, overview of your career, and something that sets you apart.

4. Hook them from the beginning

“Put the most recent and most impressive stuff first.” – Audrey Knox, Cartel

When writing their bios, many writers feel a need to start at the beginning and work their way to the present.  Just like a great script, you need to hook your audience at the very beginning, otherwise they toss the script. Start with the most impactful items first. Andlike a resume, you should start with the most recent, relevant, and impressive experience at the top. 

5. Reference your industry knowledge

“Showcase your industry mentorships and referrals.” – Cassie Duffy, Kaplan Perrone

Managers and agents need the assurance that you know the business, and that you’re going to represent them well in meetings and other business situations.  If you have industry experience, definitely include that in your bio. If not, any industry creator, professional, or mentors will go a long way in legitimizing and validating your work. 

A few examples:

To help you write a compelling bio, here are some inspirational bios, and some lackluster bios.  Note: we’ve edited these from actual bios so as not to call-out individual writers.

Great Bios:

Interesting Career History

Samantha’s journey into professional writing started as an aide for a notorious politician during a scandal. Seeing the power of story to affect change, she enrolled at AFI film school. Her directorial debut short film THE SKYLINE is currently available on Amazon and her pilot THE DOLPHIN placed in the top 15% for Nicholl just last month.

The Accolades Bio

Starting as a plucky young assistant for Werner Herzog, Evan was integral in developing several features and series for his company. He utilized his co-producer credit as a springboard to write his short STALKER, which has been featured on Vice, Amazon, and Quibi. He is currently an assistant in the writer’s room for the Fox series, THE BOOK OF ESTHER.

 

The Witty Bio

Molded by his small, North Dakota  hometown and all the opportunity that it offered — none — Jonas’s passion for writing spawned from a desire to entertain — himself, first and foremost.. After accumulating a diverse and extensive body of work at The University of Minnesota, he headed to Los Angeles, where he is currently working as a writer’s PA on TNT’s WRESTLING IS REAL.

 

Please avoid Bios like these:

The Generic Info Bio

I was born in Southeast Michigan and graduated from Michigan State with a bachelors in Communication. I moved to Los Angeles five years ago and currently work in sales. I write in my free time and would like to be staffed on a network show.

 

The Irrelevant Personal Taste Bio

I have been a screenwriter ever since I fell in love with Raiders of the Lost Ark. I now specialize in Spielbergian action projects and love to tell stories of underdogs overcoming unconquerable odds.

 

The Long-Winded Bio

Born on the majestic enchanting shores of Hollywood California, I was the second of three children to an accountant and a school teacher. My grandfather, also an accountant, would sit me on his knee by the fireside of my parent’s Cape Cod style cottage and tell me bedtime stories that left me with a sense of wonder and a desire to create stories of my own. After graduating high school with mostly A’s and B’s, I went north to a state university where I majored in English after switching from Business. I learned lots and partied equally as much, but knew that once I was finished, I had to return to Los Angeles in order to pursue my writing career. My first feature placed as a quarterfinalist in Austin, ScreenCraft, PAGE, BlueCat, Slamdance, and the Oklahoma Film Festival, while my pilot placed as a semifinalist in Austin, Nicholl, Script Pipeline, Tracking Board, and Scriptapalooza. I am now currently developing my third feature and looking for producers that specialize in broad comedy social thrillers. Links to my Facebook, Twitter, website, and portfolio below.  You can believe me when I say: I have stories that rival my grandfather’s.

 

Oh, and it should go without saying, but…

“Don’t lie!” – Everyone

Being a writer and being self-conscious goes hand in hand. It may be tempting to fill a bio with embellishments or half-truths to make your body of work sound impressive but DON’T DO IT. While you want to put your best foot forward, any rep will be able to see through it and you might end up burning a bridge instead of simply getting a pass. 

Ready? Get started perfecting your Bio on your Coverfly Profile now! 

Announcing our First Virtual Live Read!

By Announcements

We are excited to announce the inaugural performance of the Coverfly Virtual Table Read Series in partnership with The Storytellers Conservatory! Coverfly’s monthly Live Table Read was previously an in-person performance with professional actors in Los Angeles. In light of the recent coronavirus quarantines, we’re switching them to virtual live-streamed video events – and the good news is that this allows for more people to join virtually!

Join us this Friday March 27th at 5pm PST through this link here — no sign up required. The virtual hangout will open ten minutes prior to the performance. Performers will appear on screen but all are welcome to watch! Closed captioning available for hearing impaired.

We have selected CRAWLSPACE by Jacob Wehrman, a thriller feature that follows struggling plumber who is trapped by criminals fleeing a murder scene. The screenplay was chosen by the Coverfly team after Jacob applied for the Live Read program.

Want to see your screenplay performed live by professional actors? You could have the chance to invite friends, family, colleagues, producers, and managers to an exclusive event celebrating you and your work. Connect and collaborate with working industry pros to improve your material. Coverfly’s monthly Live Reads are free, and accepting applications here!

For any questions, please email support@coverfly.com. See you there!

Coverfly Pitch Week: My Journey to Getting Signed

By Contests, Screenwriting 101

I’m LeLe Park, and I’m a screenwriter who went from being un-repped to being repped in just over a year.  

It was October 2018; my ego was firmly against the wall of “no, thanks.”  I didn’t know where to go next. I was fully prepared to hunt the globe for talent representation, permanently.  I’d written my drama series pilot and poured all my emotional octane into it and physically pushed myself — sleeping only 3-4 hours a night for over a year.   Now, I was running on fumes.   

Then one day a friend-of-a-friend suggested I compete to stir up some legitimacy around my efforts. After gaining the traction I’d hoped for from competing, Coverfly’s Pitch Week selected me in their new opportunity offering!   

Part of the reason I was exceptionally excited was because Coverfly is so unique.  Its efforts to ensure that competitions and festivals are both credible and following best practices is truly a credit to its care for the participants and the reality that new writers can be preyed upon.  Coverfly’s also so well-respected and trusted that it cuts right through the concerns of even accomplished writers.  Add to it a platform as tidy and concise as this one: creating its own Pitch Week and harvesting through its massive database of talent… it organically lends a selected writer credibility, opportunity, and recognition worth noting.  

Are you a writer with a few completed screenplays under your belt?
Apply to Coverfly Pitch Week for FREE to connect with agents, managers and producers.

When I was notified I’d made Coverfly’s Pitch Week, there was a sliver of hope that representation was near!  This mythical unobtainable marker in a writer’s journey is ripe with such a variance of avenues and conditions… and now it was possible.  The ability to possibly be in front of talent management and producers in the hopes of connecting or becoming represented, that’s always enticing!  It’s hard enough to get signed as a writer when you live in Los Angeles full-time.  For me, a working mother of two small boys going between LA-and-Chicago and new to the process — it felt as fanciful as it did unlikely.  

A calendar invite was sent my way and days later the online meeting began.  I was ready to answer questions about my lead character’s journey, ready to discuss my vision, was excited to discuss character development and hopes for the project.   But, then the first question was, “So, can you tell me about yourself and how you got here?”  

The moment that question came out, I started blathering.  I was fumbling through it like the kid who hadn’t wanted to catch the ball, and I was just hoping I didn’t mess it up so bad that I’d blown the opportunity.  I realized I need to be completely comfortable answering questions. Having great answers is lovely but how they’re answered is just as important.  I had to embrace sharing my journey and how my projects had marinated  — a teachable moment brought my way, thanks to Coverfly’s Pitch Week.  

Despite my blathering and worry,  I was selected and signed by Eric Borja at Alldayeveryday!

From that point on, my manager and I spent time building a “two-pager” for my drama series, The Bliss Killer.  We spent time retooling and better preparing me for wider discussions about the project — to speak about my show’s message, genesis, and trajectory — the benefits of signing with someone who enjoys developing writers!  Even today, we’re still discussing, fine-tuning, and preparing materials for my drama series and soon will be preparing my other projects as I currently wrap my limited series, Night vs Day and have begun sharing my latest feature film, Visceral Fatherland.

Having a manager has opened doors.  It’s allowed me to participate in query submissions that widely prefer receiving materials from a manger/agent.  And it’s added validity to my abilities as a fresh member to the community.  I still work my hustle and focus on listening and connecting to those that carry more experience.  I look for opportunities to ask for help from advocates of my projects — and that’s also part of the process of working with a talent manager — they’re there for you, but you still have to be there for yourself.  They’re the additional engine to your hustle, not the end of your hustle.

Coverfly’s Pitch Week brought me to another level; first by selecting me, then by creating the opportunity to be seen and heard by a talent manager who enjoys writer development, and from there lifting my credibility game once signed by the manager.

If you have the opportunity to submit your work for consideration via Coverfly’s Pitch Week, I highly recommend it… you never know what the game-changer will be.


LeLe Park is a Chicago based screenwriter. Her original pilot “The Bliss Killer” has won/placed in over 40 competitions including Screencraft, Final Draft, Scriptation Showcase, Cinequest, Script Summit, and Shore Scripts. Her short screenplay, “ACHE”, has won/placed in 30 screenwriting competitions including Austin Film Festival, Oaxaca Film festival, Rhode Island International Film Festival (RIFF), and The Richmond International Film Festival. She was “staff pick” at ScriptD, a guest speaker at Bucknell University, and pitch choice at Coverfly. She recently finished her highly-anticipated feature script, “Visceral Fatherland” and is currently wrapping up her second feature “Topt” and her limited series “Night vs Day”. She is represented by Eric Borja at Alldayeveryday (Los Angeles). https://lelepark05.wixsite.com/lelepark

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Calling All Writers! Weekly Screenwriting Contest Roundup — 1/13/20

By Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon.


JANUARY 15 — CINESTORY FEATURE RETREAT AND FELLOWSHIP COMPETITION — Early Deadline — $60


JANUARY 19 — PAGE INTERNATIONAL SCREENWRITING AWARDS — Early Deadline — $40+


JANUARY 20 — APPLICATION FOR STOWE STORY LABS NARRATIVE LABS AND WRITERS’ RETREATS, FELLOWSHIPS AND PARTIAL SCHOLARSHIPS — Regular Deadline — $45


JANUARY 21 — CREATIVE SCREENWRITING UNIQUE VOICES SCREENPLAY COMPETITION — Early Deadline — $29


JANUARY 31 — SCREENCRAFT SCREENWRITING FELLOWSHIP — Regular Deadline — $69


For all the latest from Coverfly, be sure to follow us on Twitter and Facebook.

 

Calling All Writers! Weekly Screenwriting Contest Roundup — 1/6/20

By Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon.


JANUARY 9 — LAUNCH PAD MANUSCRIPT COMPETITION — Final Deadline — $95


JANUARY 10 — NANTUCKET FILM FESTIVAL SHOWTIME®TONY COX SCREENPLAY COMPETITION — Regular Deadline — $65


JANUARY 15 — FILM PIPELINE SCREENPLAY COMPETITION — Exclusive Deadline — $20

 


JANUARY 15 — CINESTORY FEATURE RETREAT AND FELLOWSHIP COMPETITION — Early Deadline — $60


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Screenwriting 101: How to Get an Agent

By Contests, Screenwriting 101

It takes a lot of effort, time and possibly even a good amount of sweat and tears to write a kick-ass screenplay. Some of us have been at it for years. There are plenty of classes and books to help you along the way as you craft your story for the screen, but the one thing most people don’t mention is what to do after you have a screenplay that’s ready for the marketplace. 

Screenplays are products and to sell one, you need a literary agent. Some writers get by with just lawyers, but if you’re a new writer, you’ll likely want to start by getting a manager. A manager who believes in you will be able to refer you to agents with whom they have relationships. Agents, on the other hand, are most useful when you’re at the point where studios and/or producers are interested in one of your screenplays and can negotiate a deal. Most industry professionals recommend getting both a manager and an agent to set up your career with the best odds of success. 

If you don’t have any of the above, the first thing you’ll want to do on your quest for an agent is to get your screenplay read by industry professionals. Here are the best ways we’ve determined to get your script in front of Hollywood eyeballs and move your career to the next level. 

1. Make Query Phone Calls

It used to be common to send query letters, then emails. Finding an agent’s assistant’s email address is easy and there’s very little stress clicking the send button. But it’s just as easy to find that assistant’s office phone number, too. Very few people make phone calls anymore so this is a chance for you to stand out. Most likely, you won’t be able to get the assistant on the phone your first try so try a few times (1:00 PM to 2:00 PM PST is the industry standard lunch break, so avoid calling then).

If you do get them on the phone or are forced to leave a message, the secret is expressing your passion for your project while sounding like a sane adult. If you can make an argument as to why the story in your screenplay is the most gripping, relevant or funniest story of the year, you may get some interest. If you’re leaving a message, leave your phone number AND your email address, as they are more likely to email you back. But be smart about who you contact. If you know a manager represents primarily comedy writers, there’s no need to waste your time calling them about your post-apocalyptic sci-fi epic.

2. Attend Screenwriting Conferences and Summits

Some of the better conferences like Story Expo (held in New York and Los Angeles six months apart), Toronto Screenwriting Conference and ScreenCraft Writers Summit, invite successful screenwriters, literary agents and managers to give talks and be available to answer questions. These events are set in a much more casual environment than most industry events, so the odds of walking up and introducing yourself to a literary manager at one of the social mixes are in your favor.

3. Send Your Script to Screenwriting Competitions

Most of us have heard stories about doors opening for a screenwriter after winning a screenwriting competition. At the very least, many managers will request to read the winning script and that’s a good thing. But do your homework. Screenwriting competitions can get expensive so you need to target the competitions you enter. The likelihood of a raunchy comedy winning the Nicholl competition is pretty low, so send them your best dramatic screenplay. If you write horror, focus on The Bloodlist. Austin Film Festival has a great competition and their conference is very writer-friendly. There are several good competitions out there that can open doors for new writers.

4. Go to Film Festivals

Even if you don’t live in Los Angeles or New York, you can still go to film festivals like Sundance, Slamdance or South by Southwest and meet other filmmakers, producers, agents and managers. Bring a stack of postcards or business cards that have the name of your screenplay or web series, the logline, your website/blog and your email address. 

5. Get a Job as an Assistant 

If you’re in Los Angeles or New York, or even some of the cities where a lot of filming takes place like Vancouver or Atlanta, there are plenty of film companies and production studios looking to hire that amazing assistant. It’s a great way to learn the business and to make contacts. If you’re nice, professional and helpful, someone will certainly be willing to read your script. 

6. Stunt Marketing

What is stunt marketing? It’s promoting your script in a clever way that hasn’t been done before. Billy Domineau wrote a Seinfeld spec called “Twin Towers” about 9/11 that went viral and landed him a job on Family Guy. Henry C. King purchased billboards near Sony in Culver City and in Studio City near Universal Studios directing anyone interested to look up his script on blcklst.com. These methods are unconventional so do your research before spending any money.

Here is the Writers Guild of America’s list of accredited agents. Be sure to let us know if you have any success!


ShaneeEdwards graduated from UCLA Film School with an MFA in Screenwriting and is currently the film critic for SheKnows.com. She recently won the Next MacGyver television writing competition to create a TV show about a female engineer. Her pilot, Ada and the Machine, is currently in development with America Ferrera’s Take Fountain Productions. You can follow her on Twitter: @ShaneeEdwards


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Calling All Writers! Weekly Screenwriting Contest Roundup — 12/16/19

By Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.


DECEMBER 22 — SCRIPT PIPELINE GREAT IDEA CONTEST — Late Deadline — $40



DECEMBER 31 — THE CAROL MENDELSOHN COLLEGE DRAMA FELLOWSHIP
 — Early Deadline — $40


DECEMBER 31 — INROADS SCREENWRITING FELLOWSHIP — Early Deadline — $20+


JANUARY 3 — NEW MEDIA FILM FESTIVAL SCREENWRITING CONTEST — Late Deadline — $64


JANUARY 3 — SCREENCRAFT ANIMATION SCREENPLAY COMPETITION — Early Deadline — $49


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Calling All Writers! Weekly Screenwriting Contest Roundup — 12/9/19

By Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.



DECEMBER 14 — SCRIPT SUMMIT
 — Early Deadline — $20


DECEMBER 15 — WESCREENPLAY FEATURE CONTEST — Final Deadline — $79


DECEMBER 15 — SCRIPT PIPELINE GREAT IDEA CONTEST — Regular Deadline — $35


DECEMBER 16 — STOWE STORY LABS AND WRITERS’ RETREATS, FELLOWSHIPS AND PARTIAL SCHOLARSHIPS — Early Bird Deadline — $38


DECEMBER 18 — SCREENCRAFT FAMILY SCREENPLAY COMPETITION — Final Deadline — $69


For all the latest from Coverfly, be sure to follow us on Twitter and Facebook.

 

Calling All Writers! Weekly Screenwriting Contest Roundup — 12/2/19

By Contests

Screenwriting competitions are tried and true when it comes to planting a foot firmly in the appropriate door. Here are five of the hottest contests that are wrapping up soon. Keep up to date with all of 2019’s top competition, fellowship and lab deadlines here.


DECEMBER 10 — SHOOT YOUR SIZZLE SCREENPLAY COMPETITION — Final Deadline — $65


DECEMBER 10 — LOS ANGELES INTERNATIONAL SCREENPLAY AWARDS — Late Deadline — $39+



DECEMBER 14 — SCRIPT SUMMIT
 — Early Deadline — $20


DECEMBER 15 — WESCREENPLAY FEATURE CONTEST — Final Deadline — $79


DECEMBER 15 — SCRIPT PIPELINE GREAT IDEA CONTEST — Regular Deadline — $35


For all the latest from Coverfly, be sure to follow us on Twitter and Facebook.

 

You Wrote A Screenplay. Now It’s Time to Turn It Into One Sentence.

By About Coverfly, Screenwriting 101

You’ve done the impossible: you’ve typed the famous FADE OUT, hit save, and completed your cinematic masterpiece. Congratulations! Now comes the fun part of convincing people to read your screenplay. Getting someone to read your script could become the hardest thing you’ve ever done. No joke. Reading scripts is like a first date – you need to psych yourself up in hopes that this one won’t be as bad as the last. Like a killer dating profile, you need something to draw the reader in and get them excited to read your script. Behold the most powerful tool in your arsenal – the logline!

Less is more when it comes to loglines.

A logline should be short, sweet, and to the point. You probably already know what a logline is and have tried your hand at crafting one for each of your projects, but we want your logline to be the best it can be. So let’s skip the basics and get down to the nitty-gritty. A good logline can sell your project, but a poorly written one might be an indication that your script is poorly written, too. If you’re preparing your project profile for Coverfly’s Free Pitch Week or Live Reads, then this blog post is an excellent place to start.

One, maybe two sentences.

Oftentimes loglines should be only one sentence, but don’t be afraid to stretch it out to two. Sometimes it’s hard to jam everything in and, to help build out the hook, you’ll need space to move. Getting into three to four sentences, however, can be too much information.

It’s this meets that.

If you’re finding yourself able to express the story, but not capture the tone, then consider adding comparables. More often than not, when someone says it’s “this meets that,” we can start to get a visual image. If we hear, “It’s Hot Tub Time Machine meets Little House on the Prairie,” we start to see a fish-out-of-water story about someone who accidentally goes back in time to prairie life in the 1800s. The two concepts in tandem can change the outlook on a script.

The three logline essentials.

There are three core elements you’ll want to incorporate within your logline: character, plot, and tone. In addition, you’ll want to use an active voice and aim to avoid character names (unless they’re well-known figures). It helps to give enough information to whet the appetite, but not enough to give away too much. While these are guidelines, rules can bend and break. Don’t get wrapped up in all the details; we’re selling a story here. Remember, the goal is to entice them to read this script, so hook them with the main elements. Otherwise, you can just write a summary and watch eyes glaze over.

Find the hook.

The easiest, utmost basic template you can follow is this: A character is THIS, but when THAT happens, he NOW must do this.

Essentially, it’s just the first act, break into act two, and a teaser as to what the second and third act will be. The “but” is critical because that is where the hook lives. You can usually turn to the act two break to find your hook. The hard part here is each story is unique, so you need to figure out what distinguishes your story from all others. Making clear what’s relatable and original about your story will further hook your reader.

Use loglines from existing movies in the same genre to guide you.

Here are three loglines from notable movies: 

1. A long time ago, in a galaxy far, far away, a young farmer dreams to escape his mundane life. When he begins tinkering with a few broken-down robots, he discovers a fateful message that sends him on the adventure of a lifetime.

Obviously, this is from Star Wars, and it gets to the core of the story.

2.  When a 23-year-old slacker musician falls head-over-heels in love with a beautiful young woman, he’s shocked to discover he must battle her seven evil ex-boyfriends to be with her.

From Scott Pilgrim vs. the World, we learn it’s an action-filled romance distinguished by the battle between a slouch and his love-interest’s seven evil ex-boyfriends. 

3. Desperately wanting to be accepted by the cool kids, two nerdy teenagers agree to supply beer for a party. But when they learn that their friend’s fake ID is a bust, they must go to the ends of the earth to get the booze or confirm they are the losers everyone thinks they are.

This logline from Superbad makes the story very relatable because everyone has a memory of wanting to fit in. 

While these are not the official studio loglines, they include the primary story beats and just enough context to pique interest.

Streamline your loglines. 

Once you start to get the essentials of the narrative, start to figure out how to make it exciting.

Try different variations of your logline, ranging from completely different sentences to just a few words changed throughout; it all comes down to a single word sometimes.

For instance: A theme park suffers a major power outage that allows its cloned dinosaur exhibits to run amok, forcing paleontologist Dr. Alan Grant to risk his own life to protect two young children.

Jurassic Park’s logline gives you everything you’re getting in the story and every word is essential to convey this. What if it was adjusted?

During a preview tour of cloned dinosaurs, a theme park suffers a major power outage that allows its exhibits to run amok.

It still works because… well dinosaurs. But it doesn’t have the emotional impact of the first one. In thinking of previous rules about character, plot, and tone, this specific one lacks our protagonist, Dr. Alan Grant. It shows sometimes rules can be broken and that dinosaurs can outsell people.

Another strong example: Three groomsmen lose their about-to-be-wed buddy during a night of drunken escapades in Las Vegas, forcing them retrace their steps to find him.

The Hangover is a story that many of us can relate to, whether or not you’ve been to a bachelor(ette) party or Las Vegas which hooks us in. It answers the who, what, where and why of the story while sneaking tone in by using specific words like “buddy.”

Logline structure.

When you start to tear down loglines, keep in mind the type of story you are trying to tell. I can’t stress this enough. Very often, a logline promises a story that the script doesn’t deliver. Imagine thinking you’re getting Jurassic Park, but then read Schindler’s List. While both are great (and Spielberg films coincidentally), you don’t want to disappoint the reader.

Loglines help focus your story.

A logline is a great tool to help develop your script further. If you’re having difficulty getting the story down to a sentence or two, or you’re struggling to find the hook/other elements you need to convey, you may want to evaluate your narrative as a whole as there might be some underlying story problems you weren’t aware of. It’s a great way to start to find the story within the story and zero in on what you want to tell.

Practice makes perfect.

A logline is a tool to learn about your story as much as it is a sales pitch. Make it exciting, eye-catching, and draw in the right audience. Don’t forget what type of story you’re telling and stick to it. Stretch the logline out if you need to and go for two sentences. Use comparables. Lose the micro-details that, while may be essential to the narrative, aren’t necessary to get the read. Stick to the overarching concept that makes your story seem fresh and will be like nothing a producer or director has ever read. 

More helpful tools.

Once you have your killer logline, be sure to include it in your writer profile, here on Coverfly. We’re the industry’s largest database of screenwriting competition entries, searchable by industry pros who are looking for good screenplays. The best part of Coverfly is that you can add your profile and screenplay for FREE. A tip: when creating your profile, include your demographic information, including awards and placements for discoverable projects, links to social media, agent and manager representation and a profile pic. Providing this data helps producers who are looking for writers with specific traits that will make stories feel more authentic and true to a certain voice being expressed.

Ready to pitch your ideas to agents and managers?

The deadline for applying to Coverfly’s next Pitch Week is December 1. After reviewing applications, 20 to 50 writers will be selected and matched for virtual video conference meetings and phone calls with Hollywood literary agents and managers. It’s free to apply and free to participate. Sign up here.


ShaneeEdwards graduated from UCLA Film School with an MFA in Screenwriting and is currently the film critic for SheKnows.com. She recently won the Next MacGyver television writing competition to create a TV show about a female engineer. Her pilot, Ada and the Machine, is currently in development with America Ferrera’s Take Fountain Productions. You can follow her on Twitter: @ShaneeEdwards


For all the latest from Coverfly, be sure to follow us on Twitter and Facebook.