Hey everyone,
I’m a writer currently developing several feature film and TV pilot concepts. I’m still growing in the industry, but I’m very serious about building a long-term career and connecting with other creatives here on Stage32.
I wanted to share one of my latest concepts and would love to hear your thoughts — logline clarity, tone, genre expectations, anything you notice.
GUILTY CAMERA
If you have any thoughts on clarity, tone, structure, or marketability, I’d really appreciate it. Thanks in advance!
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Hi there,
Thanks for sharing your concept — Guilty Camera has a strong emotional foundation, and the combination of a war setting with an intimate, romantic storyline definitely has cinematic potential.
The core idea is intriguing, but you might consider sharpening the dramatic stakes. What specific conflict pulls the photographer and the woman together? What risk or moral dilemma defines their connection?
The blend of war and romance can be powerful, especially if the emotional arc mirrors the external chaos.
Overall, it sounds like the beginning of a compelling, character-driven story.
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Although many features of this concept already exist across various industries, I would suggest keeping the main theme of the story intact while trying to make the screenplay truly out-of-the-box. The goal is for the audience to watch your story and feel that they’ve never seen anything like it before.
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Hey, Kadir Demir. GUILTY CAMERA sounds interesting. The title caught my attention. It's a unique love story.
I think your logline needs some work. Here’s a logline template that might help: After/when ______ (the inciting incident/event that sets the plot in motion), a _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s job/career/role*) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes).
The inciting incident can also be at the end of the logline: A _______ (the main flaw the protagonist has to overcome in the script or an adjective that describes the protagonist’s personality) _______ (the protagonist’s job/career/role) tries to/attempts to/fights to/struggles to/strives to/sets out to/fights/battles/engages in/competes/etc. _______ (goal of story and try to add the obstacles here) to/so/in order to ________ (stakes) after/when ______ (the inciting incident/event that sets the plot in motion).
Loglines are one or two sentences. A one-sentence logline sounds better, and it takes less time for a producer, director, etc. to read it. Try to keep your logline to 35 words or less. Long loglines can make producers, directors, etc. pass on a project.
Avoid using “must” in loglines. “Must” usually means the protagonist is forced to do whatever they need to do in the story instead of doing it willingly. You might need to use “must” in a logline though, like when the protagonist is forced by another character to do something. Using “must” to choose between two options is fine.
Names in loglines are usually for biopics, well-known stories, and franchises (like Mission: Impossible).
Sometimes I put the location and date that the story takes place in instead of the inciting incident if it’s a Period Piece script.
All stories don’t follow this logline template. Biopics, documentaries, and Experimental scripts might not follow the template. The series logline for a TV show can follow this template, but the pilot logline and episode loglines for the show might not.
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Good title!
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