I have a lot of problems when I write, but this has not been one of them for a very long time. I'm good at getting read. Whether I live up to the read - that's a different issue.
I'm not above providing my own examples, so here's the logline for Nice Girls Don't Kill:
When a meek and universally abused copy editor is mistaken for the professional killer she accidentally bumped off, she decides to take on this violent new identity until the killer turns out to be not so dead, and very pissed off.
This logline has served me very well. I wish they were all this easy to write, by the way. Usually it takes me ages to figure out the right logline, but this one just poured out. When I'm done sending out queries, I'll post my whole thing.
If you've never read this article by Christopher Lockhart on constructing the perfect logline, read it now. He says it better than I ever could.
Mainly, though, I was thinking about concept. Just yesterday a few writing colleagues were discussing the "hook" in your concept. One of the writers was expressing his frustration with figuring out what a hook is.
A hook is the thing that makes your script sound new - like something I'm going to enjoy as a reader.
One of the writers mentioned the Bourne series. There's been a million assassination movies, but here's one about an assassin with amnesia. And there's your hook.
Of course, you may remind everyone about The Long Kiss Goodnight, which had the same premise, except she also had a husband and kid so it was a slightly different hook.
So here's an example of a generic logline you see over and over:
When a former CIA agent is framed for murder, he must find the killer before he's the next one to end up dead.
I made that logline up, but it's based on a multitude of similar loglines I've seen over the years. We've seen this story. It's old news, and it's the same story half the screenwriters in town are telling.
When you see that logline, who do you picture as the protagonist? A white male, right? Maybe 30s, early 40s? In good health? Well educated? Trained in tactics?
Change some of that.
Three Days of the Condor was about a white man in his 30s in good health, educated, all that, except he was not remotely trained in tactics. The guy reads books for a living. There's your hook.
North by Northwest was about a guy who not only wasn't trained in tactics, but he wasn't trained in anything. He was an advertising exec, for heaven's sake.
Enemy of the State was about a black guy who wasn't trained in anything.
La Femme Nikita was about a female street criminal.
What if your protagonist was deaf? Gay? Fifteen? Ninety? An illegal immigrant? A dog?
Suddenly your story changes and bends and starts to develop a hook. What if your story takes place in an unusual location or during a major event? What if your antagonist is deaf or gay or fifteen or ninety?
You can take a generic idea and fiddle around with the details until what was a boring old idea turns into something any reader would like to see.
