Found a producer through a friend, funded for four films. I've got something that seems to fit with the low-budget, warmhearted comedies they tend to make.
They want to see a one-page outline, and I've also got the chance to meet them socially.
Help and advice please! What should my one-pager look like? I was going to do something like,
TITLE
Logline.
Synopsis.
My phone number and email
Anyone willing to let me have a look at one of theirs?

Anyone willing to cast an eye over my synopsis and logline?

This seems like a pretty good opportunity, especially the party. Would it be crass to bring along some business cards? I'm thinking just chat, be friendly, seem like someone they'd want to work with...
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Found a producer through a friend, funded for four films. I've got something that seems to fit with the low-budget, ... to bring along some business cards? I'm thinking just chat, be friendly, seem like someone they'd want to work with...

I'd be happy to share a one-sheet I just wrote. Is the e-mail you use here your real e-mail? Mine is, so if you send me a note I'll send you something I just wrote for a producer.
Alan Brooks

A with an Underwood
Meryl Streep is a
good person, and
something bad
happens to her.
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Hi Jackson,
I'll be happy to read your one-pager. Send to me at (Email Removed). I wasn't able to discern your e-mail address, but once I get your submission I'll reply with my own one-pager. - Shlock
Found a producer through a friend, funded for four films. I've got something that seems to fit with the low-budget, ... to bring along some business cards? I'm thinking just chat, be friendly, seem like someone they'd want to work with...

Here's my undereducated opinion, given after reading just about every screenwriting book I can find.
Logline = "It's a story about a who wants to but can't/won't because (or others) is/are doing ." (Fill in the blanks)
Synopsis = Start with a question. E.G. What does it take for a to realize that he/she/it isn't really looking for , but is instead trying to reconcile with his/her past/present/future?
Second paragraph. enters/is thrust involuntarily into/wakes up into a situation where he/she/it must deal with/deny/forget/ignore his/her/its past/present/future and face improbable/unsurmountable odds against survival/consciousness/self-respect.

Third paragraph. beats the odds, and resolves the external dilemma, but realizes that he/she/it needs to deal with his/her/its inner struggle.
Conclusion = resolves/fails to resolve/partially resolves his/her/its internal dilemma and lives/dies/disappears forever/for a while/never in order to settle the conflict.
Here's my undereducated opinion, given after reading just about everyscreenwriting book I can find.

That might work, I guess. But this is the kind of synopsis I prefer:
1. Describe how desparately you need money for your mother's livertransplant.
2. Describe in detail how awful your life is in every respect, so youdon't expect anything good to happen from this synopsis, but if Mr. Producer were to actually buy the script, how happy that would make you, and restore your faith in humanity just as you were about to jump off a bridge.
3. Wrap it up by saying you know where Mr. Producer's kids go toschool and what time classes end. Pity if anything were to happen to them.
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Found a producer through a friend, funded for four films. ... be friendly, seem like someone they'd want to work with...

Here's my undereducated opinion, given after reading just about every screenwriting book I can find. Logline = "It's a story ... ." (Fill in the blanks) Synopsis = Start with a question.

Practically writes itself.

Life Continues, Despite
Evidence to the Contrary
Steven
Meryl Streep is a good person, and something bad happens to her.

National Lampoon lives!

Life Continues, Despite
Evidence to the Contrary
Steven
Found a producer through a friend, funded for four films. I've got something that seems to fit with the low-budget, ... to bring along some business cards? I'm thinking just chat, be friendly, seem like someone they'd want to work with...

Here's my undereducated opinion, given after reading just about every screenwriting book I can find.
Logline = "It's a story about a who wants to but can't/won't because (or others) is/are doing ." (Fill in the blanks)
Synopsis = Start with a question. E.G. What does it take for a to realize that he/she/it isn't really looking for , but is instead trying to reconcile with his/her past/present/future?
Second paragraph. enters/is thrust involuntarily into/wakes up into a situation where he/she/it must deal with/deny/forget/ignore his/her/its past/present/future and face improbable/unsurmountable odds against survival/consciousness/self-respect.

Third paragraph. beats the odds, and resolves the external dilemma, but realizes that he/she/it needs to deal with his/her/its inner struggle.
Conclusion = resolves/fails to resolve/partially resolves his/her/its internal dilemma and lives/dies/disappears forever/for a while/never in order to settle the conflict.
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