Why Comps Matter More Than Your Logline

I’m serious. The right comp can do more heavy lifting than your logline—especially early on. Why?

Because comps speak Hollywood’s language.
Because reps and execs want to know where your script sits in the market.
Because comps sell clarity.

The job of a comp isn’t to describe your story.
It’s to position it.

The Comp Formula: Genre Anchor + Contrasting Amplifier + PLUS

Bridgerton (Netflix)

Here’s how to create comps that actually work:

1. Genre Anchor

Pick something that sits firmly in the same genre as your script. If it’s a psychological thriller, your anchor might be Gone Girl. If it’s a period drama, maybe it’s The Favourite.

The goal is to give a familiar foundation.

2. Contrasting Amplifier

Now pair it with something that flips expectations. This is the twist that makes your comp unique.

Examples:

• Alien meets Friends

• Alien meets The Bachelor

• Alien meets All Quiet on the Western Front

This is where the magic happens. Contrasting IP makes your idea instantly more dynamic.

3. The PLUS

This is your secret weapon. The “plus” is your fresh take—your spin. It might be:

• “But it’s set in a single hotel over one night”

• “It’s told entirely through surveillance footage”

• “But with a gender-flipped POV”

• “In space, on a pirate ship, during the Black Plague”

You get the idea.

📖 Want to write the next Bridgerton? Save The Cat! Writes for TV is an absolute must-read for breaking down what makes shows like this work.

Use Comps to Start, Not Just Sell

Most writers scramble to come up with comps once the script is done.

But here’s my trick: I use comps at the beginning of my process.
That way I know:

• My idea has a place in the market

• I’m writing something people can understand and pitch

• I have a creative north star when I get stuck halfway through

And yes—you can absolutely reverse-engineer your comps after the fact. But it’s way easier (and more strategic) to start here.

Real Examples That Nail It

I loved The Wilds on Amazon Prime. The first season was an incredibly well-written, well-acted portrayal of Girlhood. Plus Brenda from Six Feet Under!

Let’s look at some comps that actually work—and why:

• House is ER meets Sherlock Holmes
  → A medical setting with a brilliant, antisocial diagnostician.

• The Wilds is Girls meets Lord of the Flies
  → A raw, modern survival drama with emotional depth and a female ensemble.

• Warm Bodies is The Walking Dead meets Romeo & Juliet
  → A zombie apocalypse reimagined as a YA love story.

Each of these comps communicates genre, audience, tone, and what makes the project stand out—in one clean sentence.

That’s the bar.

Want Help Crafting Your Comp?

Interstellar (2014)

📘 Want the Full Framework?

If you’re ready to go deeper, my Comp Formula Ebook gives you the full breakdown of how to find, test, and refine comps that actually position your script to sell.
You’ll learn:

• What makes a good comp (and what doesn’t)

• How to use comps in your pitch, your deck, and even your writing process

• The difference between descriptive comps and selling comps

And if you want to get hands-on, the Printable Workbook will walk you through the entire process with fill-in-the-blank templates, guided brainstorms, and example comp combos so you’re never stuck staring at a blank page.

👉 Grab the Comp Formula Ebook and Workbook Here

🎬 Check out my free course for screenwriters: 3 Secrets to a Pitch Deck That Sells Your Script

🛒 Or grab one of my customizable pitch deck templates here and finally start pitching with confidence.