Article: Even if you have no plans to write a full screenplay, a basic outline of your story not only allows you to develop an effective pitch but gives you written material that you can protect through copyright. Your outline can be as detailed or as skeletal as you like. Keep in mind that just because you include a particular fact or detail doesn't necessarily mean it will make it into a feature or television movie, if you end up selling your story. While your life is chronological, it may not follow the same lines a story would. Think about a story you've heard or a movie you've seen that had a good story line, and map your life story out along similar lines. A standard movie is broken into three acts, with the characters in the story following a similar trajectory. You may not think of the people in your life as characters, but in the movie of your life story they would be. Pull out episodes or events from your memory that will serve as a build-up to the ultimate climactic event. Those will make up the first act of your story. The climax will be the pivotal moment or event that provoked some sort of change, or from which you learned some sort of lesson. The third act of your story will encompass those events that draw together the climax and provide closure to the entire story. Once you have your outline, you're ready to write your synopsis, which is a one- or two- page document that you'll give to any producer who wants more information about your story after hearing your pitch. Think about a summation of the life story you want to tell in terms of how you would tell it to a friend with whom you were having a cup of coffee or a drink. The synopsis includes the entire story the beginning, the middle, and the end in a very brief way without a lot of details. Don't worry if you're not a strong writer it's not as though the synopsis is going to be published. Simply focus on using active language to describe what happens in the story of your life. Write your synopsis in the third person, and strive to take yourself out of the story as much as possible and look at it from the standpoint of someone else who doesn't know you. Think about the aspects of your life that would be interesting or gripping to other people those are the points you want to highlight in your synopsis. A logline is a two- or three-sentence summary of your story that entices the person who hears it to hear the whole story and find out what happens. Writing a logline is something of an art, but there are some techniques you can use to create a strong logline that will sell your story. One way to think of a logline is as the punchline to a joke only without the joke. This is a sentence or two that's going to tell the producers to whom you pitch what your story is about and what viewers ultimately should get out of it. Imagine if you overheard a punchline but never heard the joke itself. A good punchline would intrigue you and make you want to hear the joke so you could laugh along with everybody else. This is the same thing you're striving to do with your logline: make the producers want to see (meaning make) the whole movie. You can find examples of these sorts of summaries on many of the film sites online, such as IMDB or Rotten Tomatoes. Read the short summaries of movies you know to get a feel for the type of logline you can use for your life story. It can help to think about the genre of the story you're trying to tell would it be a thriller, an adventure, or a romantic comedy? Your logline should be angled toward that genre. Keep in mind that some stories have elements of several genres, which would lend themselves to several loglines that emphasize each of those themes in turn. If you can't sell your story as a romantic comedy, for example, you might be able to sell it as a drama.
Question: What is a summary of what this article is about?
Create a basic outline. Draft a synopsis. Come up with a few loglines.

It's easier to put the belt on properly if the patient is seated upright with their feet flat on the floor and their arms to their sides (but not right up against their body). This is also the best position for using the gait belt to help move a patient from a bed or chair to a wheelchair or other seat. Gait belts are most effective when used on patients who are able to sit upright, but who need assistance standing and moving to a nearby seat. Ask the patient to lift their arms slightly if necessary, then wrap the belt around their midsection, right over their clothing. However, make sure there are no medical tubes or wiresfor instance, an oxygen tuberunning underneath the belt. If there are any wires or tubes in the way, carefully feed the belt underneath them, so the belt is between the tube/wire and the patient's clothing. The belt should not wrap right over the patient's hip bones, or around the bottom of their ribcage. Make sure it's wrapped over their waistline, so that the bottom of the belt is just at the tops of their hip bones. Feel for the hip bones to confirm the belt is in the right location. Standard gait belts use a metal buckle with a loop at each end, one of which has gripping teeth inside the loop. Position the belt and buckle so that, when the strap is wrapped around the patient's body, the first loop it encounters is the one with the teeth. The teeth should also be pointing outwards, away from the patient's belly, not inwards towards it. Not all gait belts have metal buckles with teeth. Quick-release belts, for instance, often have plastic buckles that snap together.
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One-sentence summary --
Have the patient sit upright on the edge of the bed or chair. Wrap the belt over clothing but not any tubes or wires. Position the belt at the waist, just above the hips. Make sure the teeth of a standard belt are in the right spot.