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A strong logline collides a specific protagonist with an active goal and a concrete obstacle, with stakes that make the collision matter. The best ones carry irony: the chocolatier is timid, the detective is hunting her own daughter, the coward has to lead. If your logline names a type instead of a person ("a young man"), states a situation instead of a goal, or has no visible opposition, the analyzer above will catch it.
Vague protagonists, passive verbs ("finds himself in"), stakes that never land ("...or everything changes"), and two stories crammed into one sentence. A logline is not a plot summary; it is the dramatic engine in one breath. Test yours above, fix the one thing it names, and test again.
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