Beyond the Logline: Why Your Story May Have More Depth Than a Single Line

Discovering what lies beneath the first introduction to a story

In the world of film and TV, loglines are the quick, punchy, industry-standard way to summarize a story. They give a snapshot of the plot, hinting at the main conflict, key players, and stakes. But as Steve and Jim from our Discord community recently discussed, loglines often only scratch the surface, focusing mainly on the Objective Story (OS) Throughline. When you're serious about crafting a meaningful and memorable narrative, you have to go deeper.

In the exchange, Steve rightly pointed out something crucial: loglines often feel "OS throughline-centric." This is the part of the story where we get a glimpse of the larger plot-line or conflict driving everyone forward. Think of it as the exterior action, the problem the world is facing, or the tension escalating on a grand scale. But as Jim showed through several examples, these short one-liners can sometimes hint at something more just beneath the surface.

Loglines foretell a glimpse of the narrative structure underneath--if you know what to look for.

Your Typical Logline

Here’s an example Jim shared from the thriller Crimson Tide:

After the Cold War, a breakaway Russian republic with nuclear warheads becomes a possible worldwide threat. U.S. submarine Capt. Frank Ramsey signs on a relatively green but highly recommended Lt. Cmdr. Ron Hunter to the USS Alabama, which may be the only ship able to stop a possible Armageddon. When Ramsey insists that the Alabama must act aggressively, Hunter, fearing they will start rather than stop a disaster, leads a potential mutiny to stop him.

This logline is classic OS throughline material—focused on global stakes, the threat to everyone involved, and the Protagonist’s counteractions. This example is your typical logline focused on plot and Protagonist, and for most stories that's enough.

Here's the logline for The Constant Gardener:

 Justin Quayle is a low-level British diplomat who has always gone about his work very quietly, not causing any problems. But after his radical wife Tessa is killed he becomes determined to find out why, thrusting himself into the middle of a very dangerous conspiracy.

Again, pure Objective Story and Protagonist-- and for most that's fine...

But not all loglines are created equally. Where is the Objective Story Throughline in this logline from Columbus?

When a renowned architecture scholar falls suddenly ill during a speaking tour, his son Jin finds himself stranded in Columbus, Indiana - a small Midwestern city celebrated for its many significant modernist buildings. Jin strikes up a friendship with Casey, a young architecture enthusiast who works at the local library.

This logline is all Main Character, Relationship Story, and Obstacle Character Throughline...not a hint of plot anywhere. What gives?

Beyond the Basics: Integrating Multiple Throughlines

Key to understanding the “structure” of a logline is appreciating the Four Throughlines of a complete story:

• Objective Story Throughline (plot)
• Main Character Throughline (personal baggage)
• Obstacle Character Throughline (catalyst provocateur)
• Relationship Story Throughline (the heart of a narrative)

The logline from Colombus reflects the focus of the film’s portrayal of the underlying narrative: it’s all the subjective throughlines (MC, OC, and RS) with just a dash of the objective throughline.

Knowing what you want to say and how your story is constructed can help you in the construction of a powerful and meaningful logline.

Jim shared a powerful breakdown of E.T. the Extra-Terrestrial, which expands beyond the OS:

An alien is left behind on Earth and saved by the 10-year-old Elliot who decides to keep him hidden in his home. While a task force hunts for the extra-terrestrial, Elliot, his brother, and his little sister Gertie form an emotional bond with their new friend, and try to help him find his way home.

Here, we not only get a sense of the OS (the danger E.T. faces from authorities) but also a glimpse into the Relationship Story (RS) Throughline: Elliot’s deepening bond with E.T. This layer of connection, empathy, and friendship with an alien being transforms E.T. from a simple alien-on-the-run narrative into a heartfelt story about love and connection.

A Look Inside: How Subtxt Expands a Logline

Subtxt takes things further by helping writers create what Jim calls a “story snapshot”—a short description that encapsulates not just the OS but hints at the other essential throughlines. Take Jim’s case study on a revamped House on Haunted Hill:

In the haunted halls of a mansion, guests must unravel a web of deceit and spectral threats to survive the night, driven by a deadly game orchestrated by their sinister hosts. With courage trembling beneath her skin, Nora combats her deep-seated insecurities and faces the terrifying unknown, seeking empowerment through the shadows that haunt her.

Here, we see not just the Objective Story throughline of deceit and terror but also Nora’s internal journey--what Subtxt and Dramatica theory would call the Main Character Throughline. She’s more than a terrified guest; she’s a character battling insecurities, on a personal path toward empowerment. Each Throughline—OS, MC, RS, and OC—adds depth, tension, and meaning that a logline alone can’t capture.

And for even more depth, Jim adds in that Obstacle Character focus:

In a treacherous, ghost-filled mansion filled with deceit and otherworldly dangers, seasoned test pilot Lance leads a diverse group of guests as they race against time to uncover the secrets lurking behind every shadow. As the night thickens with peril, Nora confronts her own insecurities to find strength, while Lance's determination and faith in exposing hidden truths may be the key to their survival.

Here, we feel the essence of the OS—an eerie, high-stakes survival game—and we also get hints of the Main Character and Relationship Story Throughlines, along with Obstacle Character dynamics. Lance’s leadership and Nora’s internal growth are integral to the story (Lance also happens to be the Protagonist in this version), and rolling them into the logline makes it more compelling than one just focused on the Objective Story.

Compare the above to the logline from the original 1959 film:

A millionaire offers $10,000 to five people who agree to be locked in a large, spooky, rented house overnight with him and his wife.

Nothing more here than the mere suggestion of a "tale"--and the film bears out that reality in the final result (i.e., it's an incomplete story).

Why Your Story Deserves More Than a Logline

Loglines serve a purpose—they get the attention of producers, directors, and audiences. But if you're serious about your story, you want more than attention; you want depth. The complete story structure within Subtxt and Dramatica theory provides this by guiding you beyond the OS and into the heart of every character arc and relationship.

Your story’s logline may be the first step, but with Subtxt, it’s just that—a start. From there, you can dive into the layers of each Throughline and find what truly makes your story resonate with audiences on every level.