Post number two in this mini-series of three is about a book that explores the basic underlying requirement of every movie script.
The book is by Erik Bork and is entitled: THE IDEA: The Seven Elements of a Viable Story for Screen, Stage or Fiction (links at the bottom of this post).
It’s a must-read.
Initially turning the word PROBLEM into an acronym for Punishing, Relatable, Original, Believable, Life-altering, Entertaining and Meaningful, the book then goes deeper into how and why a neat idea makes a good script great.
I can relate to this in my dim and distant copywriting career. We never had meetings about the mechanics of advertising – we only ever discussed the idea, the concept or concepts that we’d come up with. Everything else followed on from there. And everything else was basically some one else’s responsibility/job role.
In screenwriting terms, Erik Bork’s book takes the discussion of the idea to a whole new level. He’s one of my favourite bloggers on screenwriting (The Flying Wrestler) and his book is a tremendous read.
So, what’s the reality about getting “the big idea”? It’s tough. A twist on this, a play on that. Come on idea. Pop up and tell me your name! It’s that kind of angst, sweat, toil and tears that can make a writer very unhappy.
Which, coincidentally, links to an article written by another of my favourite writing bloggers, Lucy V Hay. More of that in the third and final post but now to the links as promised for this post: