If I take very very simple premise to make a great script,then they feel the logline and the synopsis Is weak but the script is great .what is the best way to showcase?

After you've labored over every word in your script, it's difficult (if not impossible) to write a good short logline and brief synopsis that will capture someone's interest. Just take a deep breath, step back and give it another go to write a better logline and synopsis without trying to tell the whole story...The script will do that.

I don't think I get the question here? We endeavor to write a great logline and synopsis in order to get our script read. Now, if they felt your logline and synopsis were weak! But, the script is great! Objective obtained = They read your great script.

Okay, now i got it. Thanks. All the best for you

I get the impression that English is your second language, which is fine. You could say that English is my second language, as a bilingual Canadian. As I navigate the internet, I constantly translate in my head. Canadian English, American English, UK English. French, international French, Franco-Manitoban, and just to really confuse things, Quebecois French. Donc, je lire Francias at Anglais (Translation: So, I read French and English).

Because I constantly translate in my head, I can usually interpret, and I don't care if anything is written differently than the way I write as long as the story interests me. To each their own dialect. I'm sorry if this sounds harsh, but I read your question and comment several times. I'm still unclear what you're asking. So I'll try to break this down.

Showcase. You can upload anything to your ScriptRevolution profile, with or without a logline. If you only want readers, meet people, ask. But keep in mind, you may not get the response you want to see. Everyone has their own opinions, which might be useful for you, or not. Also keep in mind that on this website, a lot of people are writers, not interested in reading, and harassment is not okay.

Logline. There are many bloggers all over the internet that say loglines are so hard and you have to have a strong logline. Most of them are wrong. One, once you get the hang of it, loglines are easy and help a lot. It can take a while and a lot of practice, but again, loglines are easy. If you find loglines impossible right now, chances are high, you haven't practiced enough. Second, it is possible to showcase or sell a script without an amazing logline. But, screenwriters who do that are people who have paying contacts. In other words, they were hired and told to write a script. Three, it's extremely rare for a screenwriter, without any contacts, to sell, never mind showcase, an original script without at least a half-decent logline. I agree with John Hunter on this. Keep practicing until you can write a good logline.

Originality. I get the impression you might be concerned that your story idea sounds like every other movie already made. If it sounds like movies already made, this is not a bad thing. Quite the opposite. This Movie meets That Movie. That's fantastic. In fact, that's your logline.

However, what you're written so far on this thread is hard to read. If I were a judgemental producer, agent, manager, whatever, working for an English-based studio or production company, I would reject based on the first sentence. I'm sure this is not what you want to hear and I am sorry to be the bearer of bad news. I'm only mentioning your use of English because it might be a reason why you're not moving forward. Of course, your screenwriting skills might be different from what you've written here, I have no idea.

However, if your screenwriting is the same as this post, and you want to write English scripts, you might want to talk to an editor first.

A good writer can make a boring premise sound compelling and a dull synopsis feel exciting. The further you hone your skills in storytelling and writing prose, the more vibrant and efficient your writing will become in general.

When I see a screenwriter trying to break-in while claiming that writing a solid bio, logline, or synopsis is too hard, it's a huge red flag. My advice to anybody that feels that way is to stop trying to promote your work and go back to practicing the craft until you feel more confident.

It's also worth noting that a weak concept is a different beast to a weak presentation of a concept. Most studios I speak to are looking for more of the same so there's certainly nothing wrong with presenting them something that feels familiar, is a cliche, or is fundamentally simple. It will still need sexing up but, again, if you can't sex up a few sentences or paragraphs, you need to address that weakness.

In the case of a boy who's lost something precious and sentimental, there's a lot to work with there in terms of emotion, legacy, and high-stakes. The first place to start with a situation like that is describing the obstacles that boy most face on their journey and clarifying the boon he will win should he complete it.

A word of caution: I've never heard of a reputable producer, agent or manager not liking a logline or synopsis and still reading the script. Generally, the only people who do this are members of a writing group, writing class or someone who has been paid to provide feedback. If the "they" you're talking about is a producer/agent/manager who read your script despite not liking the logline or synopsis, beware. If you're paying someone who claims to be a producer/agent/manager to read or produce your script, I would stop immediately as you are most likely being scammed.

If the above does not apply to your situation, what I think you're talking about is a common problem: you have a well written, low concept script. These are very hard to option or sell as most producers/agents/managers who accept cold queries won't touch a script that has an unappealing logline, let alone an unappealing synopsis; the rest won't touch anything without a referral.

You're best bet is to get coverage from one of the services recommended on this site. You'll get analysis, and at least with Script Reader Pro, your analyst will have industry credits and will provide you with both a logline and synopsis. As a bonus, if it comes back as a recommend, it can be added to a special section of your profile here.

Even if you're having trouble, don't give up. Many low concept scripts that are well written tend to be award worthy. The Wrestler comes to mind. Low concept (who cares about an over-the-hill wrestler), but very well written; so well written that it didn't need a non-diegetic soundtrack to cue emotion or keep the audience's attention.

Good Luck!

Putting the cart before the horse?

Before you book a holiday and write the activity details, know what you want to do e.g. see my old friends from 70 years ago and have a great time. Whisper that to your wife (Logline), and get an idea who you're going to meet from the old days (<<<< Treatment) and then (Scritpt >>>)  who to see, where and when and meet them while you're there including visiting cemeteries, old caring facilities and humble abodes where they been living for the past 80 years .... write the details including what's for breakfast on day three.

"Most studios I speak to are looking for more of the same so there's certainly nothing wrong with presenting them something that feels familiar, is a cliche, or is fundamentally simple."

Which studios do you speak to ?

I got a number of scripts, but don't know where to send them.

Are they interested in any new concepts ?

Peter, studio can be a general term, ranging from a tiny production company with a staff of two people, to a major corporation. In terms of anyone who's open to receiving emails from unknown screenwriters, as far as I know, and if anyone has different info than I do, by all means, any studio/production company/producer/agent representing producers/etc, will only look at scripts with a medium budget or less. Big studios, again, as far as I know, only accept scripts based on referrals, in other words, from people they know, and never make their emails public. Of course, this is 100% dependent on whether anyone is interested in the script, and more often than not, all you can do is try.