Christopher Lockhart Q&A (Part 3)

SWS Question #4: So if the way to finding a manager, agent, or production company is a strong logline and query letter, can you give us what you consider an effective examples of both?

CHRISTOPHER LOCKHART*: You cannot go wrong with a short letter that features one brief paragraph indicating your intent, one brief paragraph to convey the concept (via a logline), and a final, brief paragraph to introduce yourself. No particular order necessary.

Some might want to lead off with the logline or some sort of question to pique the reader’s interest. In a query for MINORITY REPORT, an opening question to pique interest might go: Would the world be a better place if we had the ability to capture criminals before crimes were committed?

If the letter goes over a half page (including letterhead and addresses) you’ve entered the Yucca Flat of 8 ½ x 11.

There is no real science to writing a query letter because the truth is that regardless of how beautifully written or clever the letter might be, if the concept (logline) doesn’t grab the reader, it’s a pass.

On a rare occasion, an exec might be inspired by the letter itself – in spite of the lackluster concept. But I’d rather find a serviceable letter surrounding an amazing movie concept.

Dear Mr. Thalberg,

I am currently seeking representation for my new sci-fi adventure MINORITY REPORT.

In a future where criminals are apprehended before they perpetrate the crime, a cop is falsely accused of a murder he has not yet committed and goes on the lam to prove his innocence.

I am a former New York City police officer and an avid reader of science fiction. I’ve combined my expertise in both fields to write this screenplay.

May I send you a copy?

Sincerely,

John Smith

Some letters might include a brief summary to explain the logline in more detail.  If a writer feels it’s necessary, keep it to a short paragraph.  Sometimes, less is more.   By sharing too much information about the story, you could give the reader more to object to. 

For more on loglines check out Lockhart’s blog post Logline revisited.

Screenwriting from Iowa related posts:
“Juno”—The Logline
“Star Wars”—The Logline
Marketing Your Script (Part 3) 

* Christopher Lockhart is a film executive, educator and producer.   He is the Story Editor at WME, the world’s biggest talent agency, where he looks for projects for “A” list clients including Denzel Washington and Steve Martin.  He has an MFA in dramatic writing from NYU and lectures around the country.  His writing workshop “The Inside Pitch” was produced for television and earned him an LA Area Emmy nomination.    He co-produced “The Collector” (2009) and its sequel (in post production) “The Collection” (2012).  He wrote and produced the documentary “Most Valuable Players (2010),” which won the “Documentary Channel Audience Award” at the 2011 Nashville Film Festival and was acquired by Oprah Winfrey as part of the OWN Documentary Club for a fall 2011 premiere.   He has been a guest judge for screenwriting contests like Big Break!, The Wisconsin Screenwriting Contest and the UCLA Showcase 2011.  Christopher is a member of the Academy of Television Arts and Sciences, The Writers Guild of America, West and the Producers Guild of America.

Scott W. Smith