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Eastercon 2017 Review!

For those who don’t know, Eastercon is the annual British National Science Fiction Convention. Now in it’s 68th year, it draws together an eclectic mix of sci-fi, fantasy, comic book and horror fans, creators, writers, illustrators, artists, cosplayers, and booksellers, as well as a whole host of other interesting people. This year it took place in Birmingham, England, under the moniker of Innominate. Its logo  was a ( presumably) green alien head. I went along and took part. He’s what happened…

 

 

I had two events planned for Innominate. The first was a panel on comic book legend Jack Kirby. Most people know Kirby from his days with Marvel  in the Sixties. In fact, Jack “King” Kirby, or Jolly Jack Kirby (whichever you prefer) was an influential comics creator who co-created Thor, the X-Men, the Fantastic Four, Superman’s nemesis Darkseid and a whole host of other even wilder characters. This was a lot of fun, even though it took place less than an hour after I had arrived and before I’d even booked into my hotel.  But bringing my hastily-acquired knowledge of how Kirby actually invented modern superheroes was very enjoyable. My fellow panellists, Stephen Aryan, Ali Baker, Kin Ming-Looi and Adele Terrell all brought their considerable knowledge and talents to bear.

Panel over, it was time to get my bearings and have a breather from the 2 hour drive down a congested M6. There were almost a thousand people in attendance, with sci-fi legend Pat Cadigan, illustrator Judith Clute and art connoisseur Colin HArris all being the guests of honour.  I checked in with a few friends I hadn’t seen since… well, the last Eastercon, missed several interesting-looking panels. I then attended the “The Explosive Opening Ceremony”. Thanks to a scientists from the Royal Institute, it was indeed explosive, and I will never forget the impressive sight of a luminous courgette.

Missing panels is something of a hobby of mine at Eastercon. I missed a couple more that night, but managed to attend both the art show reception and a Gollancz launch party. Both were curiously low-key affairs, with guests simply milling about with little or no introduction. I got the impression these were for “people in the know” whoever they were, and felt a little excluded, but even so I managed to chat briefly to some intriguing folks.

I decided to skip the Regency ball (not being a fan of how people were actually treated in the Regency period) and the Blake’s 7 Wobblevision (which I’m sure was good fun) and tried to grab some actual sleep. Car parking was a bit steep in Birmingham. Fortunately, I left my car next to the A-Team’s van ( I never did find out who it belonged to) and saved some cash courtesy of a reduced parking ticket from the con hotel, which was great value for money!

 

Jack Kirby shows his trademark style!

 

Saturday was a busy day indeed. I lost some time trying to find my way around the NEC (not a good idea when there’s a 24-hour gaming convention on) and ended up driving to Coventry! Thankfully, and against all odds, I managed to arrive in time for my kaffeeklatsch. These were great ways to speak with several fascinating guests at the con, including author Adrian Tchaikovsky and lit agent John Jarrold. After that, I missed a few more panels chatting in the bar, before heading into the panel titled *punk. This was a very entertaining and informative talk on the various “punk” genres, including steampunk, cyberpunk, and even weirdpunk ( which I never knew was a thing) . The discussion was lively with issues of class inevitably being thrown up against steampunk. The panellists were all fantastic, and I left with the feeling that I knew more than when I entered. Which is always a good thing.

I am embarrassed to say that I attended very few other panels that day. Some of these were just fun (Towel-fu, Sofa Racing and Hungry Human Hippos) some were a bit too technical for me (Neurodiversity, 3D printing, and a workshop on a Dremel – something about which I am still unenlightened), and some of which conflicted with lunch. Although this last point sounds trite, when you’re on your feet for 18 hours a day, lunch becomes a necessity. Unfortunately, many of the panels conflicted with the street food that was on sale in the fan lounge, while the hotel food was exorbitantly priced. For someone with certain dietary needs, food became an increasing problem, resulting in nachos for breakfast. Suffice to say, I left the con never wanting to see another baked potato. May I suggest some salad, vegetables and pasta in the future?

But otherwise Saturday night was (as I remember) filled with good conversation around the bar, mainly involving 2000AD, and the world’s most insanely difficult sci-fi pub quiz. So afterwards I headed back to my hotel to get a well-earned 5 hours rest!

Sunday was another busy day. Beginning with a sci-fi criticism masterclass by Manchester University’s Geoff Ryman on Afrofuturism, it continued with a panel on writing scifi with and about disability. This was a terrific discussion which made me realise just how few positive portrayals of people with disability there are. Even heroic disabled characters have to either overcome their disability or are given some great super-power to compensate (I’m thinking of you, Georgie Laforge). A lively talk from Pat Cadigan topped the day off with a session entitled “Pat Cadigan Explains It All”. And she did, with a rather graphic demonstration that I feel I will never forget. The other panels were mostly sci-fi, and  I would have liked to see  a little more fantasy and horror in the programme. But I guess that’s why it’s called a Sci-Fi convention! Much of the rest of the evening was mainly preoccupied with dinner. Sadly, the Groan-Along showing of Ed Wood’s sci-fi fiasco”Plan 9 From Outer Space” was cancelled due to someone bringing the wrong DVD. The replacement, “Transformers” failed to find an audience. So instead I had a long and lively talk with many people who wandered in and out of the fan lounge until the wee hours, when I realised I still hadn’t decided (due to a variety of reasons) on what I was going to read for my author reading at 10am the following day!

Now, 2am is not a good time to decide what you are going to be reading in less than 8 hours. However, I think I pulled it off. Sadly, my reading conflicted with my friend Arthur Chapell’s fascinating talk on sci-fi pub signs, so I had to miss that, as I couldn’t very well be absent from my own reading! Myself and grimdark author Anna Smith-Spark expected a low-energy crowd, it being the fourth day of the convention at 10am! However, the opposite was true. Many faces that were far too fresh for my liking turned up (probably due to Ms Smith-Spark’s presence, I may add), and I realized I had better be on top of my game. Fortunately, my last-minute preparation prevailed, and the reading seemed to go very well, with a lively Q&A sessions afterwards that involved such diverse subjects such as Dungeons & Dragons and the poetry of William Blake.

The con ended on a high note with the closing ceremony, attended once against by the guests of honour, and the giving of the Doc Weir award. I spent the rest of the day catching up, saying goodbye and generally making a nuisance of myself before heading home up the M6 once more. Maybe it was just that the traffic was less congested, but I felt a new surge of energy and hopefulness. It seems to be a common thing at Eastercon. The experience of being around so many creative and passionate people renews you, and you go forth into the world once more, ready to apply pen to paper, confident that there are other people out there who feel just the same as you!

My thanks to the organisers for letting me participate, and my apologies to anyone I didn’t get to speak to. See you next year!

(P.S. Some of the above may be exaggerated… just a little).

 

 

 

 

 

 

 

Exciting news!

I am very happy to report that my latest novel “The Autumn Man” is going to be published in the very near future!

I’ll release more details when and as I can, but this is a horror novel that is very close to my heart.

You can read my fist novel, the sci-fi horror “Project Nine” here.

The story behind how  both “The Autum Man” and “Project  Nine” got published is an epic one and I will share it with you at some point in the future. But for now, I’m just excited  and looking forward to sharing more with you as this develops. Stay tuned for a sneak preview of the cover and for more screenwriting tips and secrets!

 

Link

This is pretty exciting news. My vampire novel PROJECT NINE is now available as an e-book on Amazon!

But this isn’t your usual horror story. It contains science-fiction, mad scientists, government conspiracies and, although it has its fair share of spinetingling romance,  you won’t find any sparkly vampires here!

PROJECT NINE  is the story of a young man named Luke who lives in a small Iowa town and who dreams of an escape from his own mortality. He finds it when he meets Lynne, a beautiful drifter who offers him eternal life. But the price is an insatiable addiction to human blood.

FrontCover2

What Luke does not know is that Lynne has escaped from The Tower, a secret government installation hidden in the cornfields of  the American Midwest. Within its walls, a clandestine experiment has gone terribly wrong. Aimed at breeding a new generation of super-soldiers, the Project has instead created genetically engineered creatures who live in darkness and feed on the blood of others.

Now, pursued across the country by an obsessive detective, Lynne and her fellow test subjects roam America’s backwoods in their quest for victims.

And Luke has joined them.

But theirs is no romantic existence: it is a world of spiralling violence where Luke must kill each night to survive. He is about to find out that his new life is very different to what he imagined…

WHAT’S IT LIKE?

PROJECT NINE is equal parts Stephen King, Anne Rice, Michael Crichton, Phillip K Dick, and Mary Shelley.

These vampires are psychologically realistic, damaged people. And the science behind their creation is so believable that, according to several sources, it’s even technically possible!

I’ll be telling you more about the characters, human and otherwise, in later posts.

WHERE CAN I BUY IT?

You can buy PROJECT NINE on Amazon as an e-book here.

Or in the UK you can get it here.

If you don’t have a Kindle, don’t worry, you can simply download Amazon’s own free e-reader for PC or smartphone when you buy. It’s so easy, even I did it!

You can also read a free sample before you download it. So why are you still here? Just click on one of the links above to get reading!

 

My top 20 horror novels of the past 70 years!

As it’s almost Christmas, here is a list of my own favourite horror books. These are books that either inspired, terrified me, or made my jaw drop at the sheer beauty of the writing. These are all personal choices, so feel free to disagree. But without further ado, here is the list, in no particular order…

 

rats

The Rats James Herbert

British writer James Herbert was strangely underrated during his lifetime, which is a shame, as he is one of the most frightening horror writers of the 20th century. “The Rats” burst on to the scene in the 1970s, and it still packs a punch today. The huge list of characters, the violence, and the incredible imagery make this a must-read!

Cabal Clive Barker

In the 1980s Clive Barker appeared as a breath of fresh air with his promise to show what other writers only hinted at. Not satisfying with having the monster carry off the maiden, Barker wanted to reveal what happened afterwards. Cabal is his most solid novel, a tale of a man who believes he is a psychopath and takes refuge in a hidden underground city of monsters. The result is a Grand Guignol of the surreal and unnerving. Filmed as the uneven but imaginative “Nightbreed” with David Cronenberg as the bad(der) guy!

 

king

The Stand Stephen King

My first Stephen King entry is the author’s dark take on the apocalypse. It begins with a whimper and ends with a bang.  Filmed twice with varying success, this is some of King’s finest writing. So depressingly realistic that at first I had to give up on it and came back when I was in a lighter mood!

IT Stephen King

The second Stephen King entry on my list is, I think, undeservedly ignored, thanks to a forgettable TV movie. But make no mistake, the novel is King at the peak of his powers. The characters are rich but archetypal, the town of Derry both nostalgic and terrible. And the monster, ah, the monster..!

 

The Doll Who Ate His Mother, Ramsey Campbell

 

A peculiarly British atmosphere pervades this book, set in the poor end of Liverpool. There is a particularly nasty antagonist, but what makes it so memorable is Campbell’s description of urban neglect. Wherever the characters go you feel the empty eyes of forgotten tenements glaring at them. A unique little tale.

bradbury

The October County Ray Bradbury

Few can deny that Ray Bradbury is the American master of the short story. But did you know that this anthology contains an early possible prototype of the Addams Family? These American Gothic fables contain such memorable tales as “The Jar” and “The Emissary”. Packed with gorgeous prose, this is both horror and literary… and funny to boot!

Domain James Herbert

The last entry in the “Rats” series sees survivors of a nuclear holocaust eking out an existence in London’s rubble. Until they find an army of mutated rats waiting for them! Superlative suspense fiction. Every chapter ends on a cliff-hanger. Surely a Hollywood blockbuster waiting to be made!

The Vampire Tapestry Suzy McKee Charnas

A unique take on the vampire genre sees Suzy Charnas’s ancient and wily vampire take on the challenges of the modern world. Never has a vampire been presented in such a detailed psychological light.

The Books of Blood Clive Barker

Yes, all of them! It’s hard to imagine how revolutionary Barker’s fiction was when it first surfaced. These short stories run the gamut from the epic (In the Hills, The Cities) to the eerie (Skins of the Fathers), the surreal  (The Body Politic), the funny (The Yatttring and Jack) and the downright weird (Son of Celluloid). Some have become movie fodder, such as the unforgettably bizarre video nasty “Rawhead Rex”. Others are allegedly in the pipeline. But nothing can prepare you for Barker’s very personal vision of a contemporary world that’s as dark and corrupted as Dante’s inferno!

Interview with The Vampire Anne Rice

The book that launched a publishing legend. I still remember getting lost in the luxuriant Gothic prose. Anne Rice creates a vivid fantasy fever dream that is both like and unlike the movie version. A true masterpiece of fiction.

triffid

Day of the Triffids John Wyndham

British writer John Wyndham’s most well-known book is an example of the “cosy catastrophe”. But that’s why I like it! It’s interesting to see stiff upper lips drop as British society falls apart under attack from some walking plants with the aid of a meteor shower!

Kiss Kiss Roald Dahl

Not just the writer of Charlie and the Chocolate Factory, Dahl’s short stories were laced with an acerbic wit and grisly imagination. A bit like fairy tales for adults, with added poisoning, brain surgery and insect/baby hybrids!

Ghost Story Peter Straub

Possibly THE great American ghost story. Peter Straub writes far too little horror these days. But this fantastic novel – described by Stephen King as “a tiger tank of a book” – contains virtually every twist on the ghost tale that you can imagine. Oozes atmosphere and quiet menace!

legend

I Am Legend Richard Matheson

With episodes of “The Twilight Zone” and numerous TV movies such as the unforgettable “Duel” and “The Night Stalker”, Richard Matheson inspired a generation of writers.  This is his probably his most famous work – filmed as the languid Vincent Price chiller “The Last Man On Earth”,  the action-packed and very Seventies “The Omega Man” with Charlton Heston, and lately as the CGI-heavy Will Smith popcorn flick, this tale of a man alone in a  world of vampires  has still never been done right. Which is a shame. It’s a fine novel.

The Haunting Shirley Jackson

One of the great ghost stories ever written, it’s amazing how the writer delivers so many effective scares without ever resorting to gore or shocks. Shirley Jackson’s story is a snowball rolling downhill, gathering chills as it goes. Also one very good and one very bad movie.

Teatro Grottesco Thomas Ligotti

Ligotti is one of the writers of the “new weird” – modern authors in the cosmic horror tradition of HP Lovecraft. This collection showcases his unique prose style – a style of flatness and repetition – that lends his words a peculiarly terrifying banality. “The Red Tower” was a particularly fine story. Have fun unpacking the symbolism!

Hour of the Oxrun Dead Charles L Grant

Overlooked by many, Charlie Grant’s Oxrun Station stories all take place in the same sleepy Connecticut town – that just happens to attract all manner of evil! Perhaps it was because these are classic supernatural stories that came out just as writers like King were modernizing old horror tropes. But these are creepy tales, laced with luscious prose. The old TOR versions had the best covers – each one a gorgeous Halloween-themed scene. Ideal for a creepy night in!

grant

Last Call of Mourning Charles L Grant

My favourite Charlie Grant story keeps you guessing all the way through. The plot sounds simple enough – the heroine returns to Oxrun Station to find her family ‘changed’. They don’t bleed, keep out of the sunlight, and have strange nocturnal habits. But the truth is something you’ll never guess. A masterful book that drips atmosphere and charm.

The Beautiful Thing That Awaits Us All Laird Barron

Barron has erupted onto the horror scene in recent years. This volume represents many of his Lovecraft-meets-Raymond-Chandler style of stories. But that is to do him an injustice. True, “Hand of Glory” is an effective pulp/horror mashup. But other stories show a genuine ability to expose our innermost fears. His eye-catching imagery cannot be easily forgotten.

The Vampire Lestat Anne Rice

Anne Rice second entry in my list is, I think, the most rich of her vampire stories. While I loved the epic scale and sheer ambition of “The Witching Hour”, “The Vampire Lestat” beats it because of the wonderful ironies the author employs. Here we learn who Lestat is, where he came from, his complicated (to say the least) relationship with his mother and his first meeting with Armand. We also learn more about Rice’s vampire mythology. This is both epic and deeply personal. Lestat feels like a living, breathing person. In all of horror, I can’t recall a more well-rounded, charismatic character!

Afterword

What’s missing from this list? Plenty. This is not my “Top 20”. Nor is it meant to be any kind of definitive list. These are just books I’ve loved. Pure examples of the horror genre that are original stories. I’ve not included anything by any “classic” author such as HP Lovecraft, Mary Shelley or Edgar Allen Poe, because everybody knows all about them anyway. Hopefully you feel the same or similar about some of these titles, or if not, I hope you seek them out and find them to your liking!

Enjoy!

The only guide to writing a logline you’ll ever need – Part Three!

Welcome to the third and final part of a series of posts about how to write a logline. Whether you’re writing a novel or a screenplay, a logline is an important marketing tool. But with a little practice, anyone can create the perfect logline

Let’s go over what we’ve learned so far (and if you haven’t yet, I’d encourage you to read parts One and Two of this guide):

What is a logline?

A logline is a one or two sentence pitch for your story. 

What is a logline not?

A logline is not a tagline or a teaser. It summarizes the essential elements of the story so that someone can see at a glance what the story is about and whether it is marketable.

What does a logline contain?

A good logline contains as many of the following as possible:

A great TITLE. The GENRE. A HOOK with IRONY. The HERO. The CATALYST. The CHALLENGE the Hero must face. The Hero’s JOURNEY. The ARENA.

Last time we covered what constitutes as great title, how to signpost your genre, what is a Hook, and the importance of a central Hero.

Now for the difficult part!

CATALYST

The next ingredient in our perfect logline recipe is the CATALYST.

In Blake Snyder’s SAVE THE CAT, the catalyst is referred to as the incident that sets the story in motion.

A story has a beginning, a middle, and an end. It’s not necessary to reveal all three, but the story must begin somewhere. This is the Catalyst. This moment usually occurs about 10 to 12 minutes into the film. For instance, the catalyst in “Star Wars”, the catalyst is Luke Skywalker discovering the secret tapes held by R2D2. It is this incident which sets the story in motion, as Luke then begins his journey to join the Rebellion. So the Catalyst is Luke joining the Rebellion.

Here is what I’ve noticed: most loglines fail because they are too VAGUE. Authors don’t want to give up the main plot points of their story. Tey want to generate enthusiasm and excitement by not giving the game away.

That is a mistake.

The excitement is in the writing. Not the logline. The logline is a selling tool.  Remember when I said it’s not a Teaser or a Trailer? People need a logline to see if the script is their kind of thing. You don’t have to generate the same amount of page-turning excitement that is in your script. Just focus on getting the essentials down.

For example, here’s my own unproduced “Demophobia” script logline again:

A man with a phobia of people must search a crime-infested city for his missing girlfriend, only to come into conflict with a mysterious entity controlling the homeless population.

Okay. We have a hero. We also have Irony. But what’s the catalyst? His girlfriend is missing. This may be the thing that kicks off the story. But it’s weak. She’s already missing when the story starts? A weak catalyst indicates a weak structure.

I revised this and came up with the following:

When his girlfriend goes missing following a clinical drugs trial, a man with a phobia of people searches for her in a crime-infested city, only to come into conflict with a mysterious entity that controls the homeless population.

It’s not quite “Liar Liar”, but it’s at least a little better. We know that the catalyst is when his girlfriend goes missing. We also get more of a sense of the genre. The drugs and the mysterious entity indicate this may be science-fiction or horror.

CHALLENGE

Again, most weak loglines omit this. You can’t afford to dance around this issue, as it is the main conflict in your screenplay. It is the struggle the hero faces.

For instance, in “The Poseidon Adventure” the challenge is that the ship is sinking.

Here’s a logline for the movie “Predator”:

“A team of commandos on a mission in the Central American jungle find themselves stalked by an invisible alien hunter.”

How’s that for a challenge?

If your logline doesn’t have a central conflict, chances are your story is weak. This may be because the hero doesn’t have a strong enough GOAL. A lot of scripts and novels have a hero who wanders around without taking charge and pushing the action forward.

So how’s my “Demophobia” logline shaping up?

When his girlfriend goes missing following a clinical drugs trial, a man with a phobia of people searches a crime-infested city for her, only to find that a mysterious entity controlling the homeless population is out to stop him.

Hmm. It has a challenge and conflict. It’s not terrible.  It also has something else going for it:

THE HERO’S JOURNEY.

A movie sets up a promise to the audience. Sometimes this is inherent in the GENRE. Sometimes it’s obvious in the hero’s FLAW.

Audiences are smart these days. They watch a lot of movies. If you set up a hero with a huge flaw (for instance, that he’s a compulsive liar) the audience expects that by the end of the movie he’s going to learn that lying is sometimes bad. You can imply a lot, so you don’t necessarily need to spell this one out.

Improve your logline by hinting at the hero’s TRANSFORMATION – the inner journey he goes on. Here’s where you can even use your logline top improve your script – you can tailor the challenges to suit the FLAW.

For instance, to use my own example of “Demophobia”, the hero has a phobia of people. But he’s forced to go out of his comfort zone into a city and come into conflict with the entire homeless population.  Chances are that by the end of this ordeal he’ll either be a basket case or he’ll have shaken off his phobia off people.

By now you may have realized that the Hero’s Journey stems from the Challenge which forces him to overcome his Flaw.

FLAW + CHALLENGE = HERO’S JOURNEY

For instance, at the end of “Liar Liar”, the challenges that lying attorney Jim Carrey will face are going to show him how he can win the day by being truthful. That is his Hero’s Journey.

ARENA

Sometimes a story can grab a producer’s attention if it involves a setting, group, society, place, or occupation we’ve never seen before. “Top Gun”, for instance, is set in the exciting world of the  USAF’s flight school.

You can also tweak the arena to better suit your story.

To use my “Demophobia” example again, the city is a place full of people – exactly the opposite of where someone with a phobia of crowds would want to hang out. I may have overdone it with having a “crime-infested” city. Sure, cities have crime.  But this seems a little irrelevant to the rest of the logline. But I’ll stick with it for now as it conveys the kind of  intense experience he’s going to face when he sets foot in there.

BONUS POINTS – ANTAGONIST

Sometimes you can add a little spice to your logline if you have an exceptionally cool villain. For instance, the invisible alien hunter in “Predator”. Or how about the great white shark in “Jaws”? A character is only as good as he opponent she is facing, so if you have an unkillable cyborg from the future, you may also want to mention it here. Remember, the aim of the logline is to SELL. If you have something UNIQUE in your story, whatever it is, don’t omit it.

So to wrap things up, here’s our all-singing, all-dancing logline formula:

HERO + IRONY + CATAYST + (FLAW + CHALLENGE = HERO’S JOURNEY) + ARENA (+ ANTAGONIST) = SALE!

 

NOW SIMPLIFY…

If your logline contains all these elements, chances are it’s still not ready for the world.

Why? Because it’s probably too complicated.

It can be very hard to distill 110 pages into one or two sentences, especially if you’re emotionally invested in the story. This is why I recommend doing nothing.

Nothing?

Yes.

Nothing.

Let it sit. Give yourself time to drift away from the story and forget about it. Come back with a fresh vision. Once you are objective, you are in a better place to examine whether or not the logline conveys everything you want it to convey.

For instance, in my logline, do we really need so many adjectives? Do we need the homeless people? Sure, they are a major part of the script. But we’re trying to boil the story down to its  bare essence.

Another thing to remember is that you can go too far in paring things down. You have to give the reader the bare concept, but with enough specifics so that it doesn’t become just another Tagline or Teaser.

This takes time. But the more time you put into your marketing materials the better your chances of success. Remember, you only have ONE CHANCE to make a good impression. That industry pro will not take a second look at the same logline. So make that first time count.

And finally…

Here’s the latest version of my own logline for “Demophobia”:

After his girlfriend goes missing following a clinical drugs trial, an artist with a phobia of people searches the city for her, only to find that a mysterious entity that can leap from body to body is out to stop him at all costs. 

 

What do you think?

(Let me know if you think I’ve left something out!)

 

…ONE LAST WORD

By now you are probably sick to death of loglines.

Good. You are now less likely to send it out before it’s polished to diamond hardness. Put the script in a drawer for a week, then come back and take another look at that logline.

It’s amazing what a different time makes, isn’t it?

You should now know what makes up a successful logline. However, your logline is only as strong as your story. If your logline is weak, it may be that your story is weak. In that case, use your logline to improve your story.

One last thing to bear in mind, is that nobody is perfect. Some of the above loglines lack some elements. “Predator” lacks a hero with a journey. Arnie at the start of the film is Arnie at the end of the film. “The Poseidon Adventure” lacks a central hero, but makes up for it by having a terrific arena and unique challenges.

The point is, you can make up for deficiencies in one aspect by having something else that is truly great. So don’t get all paranoid about loglines to the point where you’re too paralyzed to write. Just ask yourself if your logline contains enough of the above elements to hook whoever it is you’re pitching to.

I hope this guide improves your loglines. And don’t forget, above all else, have fun!

The only guide to writing a logline you’ll ever need – Part Two

This is the second in three posts on how to write a logline.

In the first post, we looked at what a logline is and, more importantly, what it is not.

We learned that a logline is a basic selling tool for your screenplay or novel. It is  a one or two sentence pitch that aims to tell the reader about your story in a succinct manner in order to save the reader TIME.

We also talked about the difference between a logline and a tagline, a teaser, and a movie cross.

Now comes the meaty part. This where we break down what goes into a good logline.

The NUMBER ONE MISTAKE writers make when pitching their story is that they do not invest time in their marketing materials. Incredible as it seems, they spend months or even years honing their script, then hammer out a logline in minutes and wonder why nobody wants to read it. However, a good logline can open doors, create working relationships, and get your project sold or made.

Sound good, right?

Then read on!

 

ELEMENTS OF A GOOD LOGLINE

A good logline gets a producer, agent, manager, executive, publisher etc. to continue their relationship with you. Ideally, it gets them to read the script. To this end, you have to ask yourself “What is a producer etc. looking for?”

ANSWER: something they can sell.

Okay. Not very helpful. But you should already have done your research on them to check if this is their kind of project. More on that another time. For now, let’s look at things from their point of view. How do they know if this project is the right thing for them? Bear in mind that they have many, many submissions to go through every single day?

ANSWER: by ensuring it contains the following:

A great TITLE.

The GENRE.

A HOOK.

Who is the HERO?

What is the CATALYST?

What is the nature of the CHALLENGE they must face?

And for added points:

The Hero’s JOURNEY.

The ARENA.

Who thought loglines could be so complex? Actually, it’s simpler than you might think. Most of these are intuitive anyway.

But let’s go through them one at a time, just to make sure you have them:

 

TITLE

It sounds obvious, but a movie should have a great title, something that sets it apart from everything else. Ideally, it should also inform the audience aboout the subject matter. I’ve noticed that many well-made but obscure movies don’t do as well as they could have because they have a generic title that says nothing about the subject or the plot.

For a recent example, how about “Edge of Tomorrow”? A title so generic they had to rename it for the DVD release. It doesn’t say anything about the plot or the characters.

Or how about: “John Carter”. This assumes that you already know who John Carter is. For my money they should have gone with: “John Carter: Warlord of Mars”. Now that would have piqued my interest.

One of the best movie titles is “Ghostbusters”. It’s funny and tells you the entire premise. It gives away not just the concept, but also the fact that this is an action-comedy movie.

 

GENRE

You can sometimes even give this away in the title, as with “Ghostbusters”. Otherwise, you want to indicate it in the logline.

To use my the example of my own script “Demophobia”, can you tell what genre this is:

A man with a phobia of people must search a crime-infested city for his missing girlfriend, only to come into conflict with a mysterious entity controlling the homeless population.

Clearly something speculative is going on. But is it a sci-fi? A fantasy? A horror? I would say the logline implies that this is a straight story, not a comedy. But to make it clearer what kind of genre we’re talking about, I added:

When his girlfriend goes missing following a clinical drugs trial, a man with a phobia of people must search a crime-infested city for his missing girlfriend, only to come into conflict with a mysterious entity controlling the homeless population.

There. That hints that this is a sci-fi thriller, which indeed it is. Maybe there’s a little horror thrown in there too. It’s okay to have more than one genre in your logline, BTW.

Okay, so  my own logline isn’t perfect yet. But there’s a way to go before we’re done. In any case, giving the GENRE away in the logline will allow your producer to see at once whether your script is right for him or her.

 

THE HOOK

This is one of the main stumbling blocks, and something that’s talked about  a lot when discussing a “high concept”.

QUESTION: What is a “hook”?

ANSWER: A hook is the kind of thing you use to catch a fish. It’s a shimmering, bright, dancing object that teases your target into wanting to know more, until they request the script and… ulp! They”re hooked!

So much for metaphors. Now let’s get more serious:

Sometimes the hook is a fantastic concept that’s never been done before. For instance, “An ocean liner capsizes in a storm. The survivors must fight their way out through the sinking, upside-down ship to survive.” (The Poseidon Adventure)

Sometimes it’s just a catchy idea. Something that’s both new and familiar at the same time: “A father loses the right to see his children, so he dresses up as a woman to become the ideal nanny.” (Mrs. Doubtfire)

One of the easiest ways to ensure you have a hook is to use IRONY.

Irony is defined in the dictionary as: “A situation that seems funny or strange because things happen in a way that seems the opposite if what was expected”.

In a logline, it could appear because the hero has a specific occupation, and get to see the opposite of what we expected to see happen to her unfold in the story.

Or, if the hero has a particular character FLAW, you can play on this by making the worst thing possible happen to them.

Some “high-concept” movies do both.

For instance: in “Liar Liar” an attorney is forced to tell the truth after his kid makes a wish that comes true.

This logline tells us a lot about the movie. It’s funny. So it’s probably a comedy with a hit of satire. It’s not necessarily going to cost a fortune to shoot, unless we get someone like Jim Carrey in the lead. And it’s IRONIC. An attorney (who, it is implied, lies for a living – it is a comedy, after all) is forced to tell the truth! It’s irony based on occupation and character flaw (he lies a lot). Classic high concept!

 

HERO

Movies are often mythic stories. Especially high -grossing ones. As a result, producers like to see a central hero.

Most of the above examples make it pretty clear who is the hero of this movie. However, what do you do if you have an ensemble cast? For instance, The Poseidon Adventure doesn’t have a central hero.

ANSWER: The easiest fix for this is to pick out one character and make them the hero.

“Ocean’s Eleven” is about a group of con artists who rob casinos. All of the eleven are part of the group. But who changes the most? Either that, or who is the central focus of attention? It’s got to be Danny Ocean himself. So a logline for this might read:

“An ambitious ex-con gathers together a team of experts to rob three Las Vegas casinos at the same time.”

 

So there you are. We’ve covered TITLES, GENRES, the HOOK, and the importance of a central HERO. But we’re not done yet…

There’s a lot to digest in this post. So next time we’ll take a look at the rest of our logline ingredients: the CATALYST, the CHALLENGE , the Hero’s JOURNEY, and the ARENA.

See you there!

Sneak preview of new horror novel “Project Nine”!

Today, I wanted to share with you something very special to me.

Here is the first look at the amazing cover for my new horror novel, “Project Nine”. The folks over at MyInkBooks have done a fantastic job putting this together. Suffice to say, a picture can say a thousand words!

But don’t be misled into thinking this is a straight-up horror yarn. I would never let you readers off the hook so easily! No, “Project Nine” is instead a horror/sci-fi/love story! Add a realistic police investigation and the evil machinations of a  ruthless politician… and you have a modern horror story with a distinctly classic feel.

The precise plot is under wraps for the moment, but I can say that if you like horror, this is the book for you! Even if the luscious young lady on the front cover doesn’t tempt you, how about this gushing review: “the narrative prose expounds a candor much in tune with all the greats in Literature”.

And as for how the novel got to be published, well that’s a story in itself!

But in case it sounds like I’m trying to sell you something… take a look below and see what you think.

FrontCover2

 

“Project Nine” is due to be published later this year.  I’ll be releasing more news as it arrives. Watch out for it!