The Idea: The Seven Elements of a Viable Story for Screen, Stage or Fiction

by Erik Bork

Most screenwriting books tend to focus on story structure, scene writing, navigating the business, and other parts of the craft that come AFTER the initial choice of the central concept for a story. Multiple Emmy- and Golden Globe-winning writer/producer Erik Bork (HBO’s Band of Brothers) takes a different approach. His experience in the industry and as a screenwriting professor and coach have led him to recognize that it's the selection of the initial idea that is the most important part of the process -- with the most impact on the project's chance of success. And as Mr. Bork knows from experience, this choice takes a lot more understanding and work to get "right" than it might seem.Most screenwriters and fiction writers have difficulty getting their work read and accepted by agents, editors and producers mainly because their idea for a story presented in a query or pitch doesn't excite these "gatekeepers" like it would need to, for them to want to engage. And when they do read the whole story, their core reasons for "passing" are usually also about the basic idea (although lack of professional-level execution matters, too). But writers are usually in the dark about this, not realizing that the project they spent months or years on had fundamental flaws on a concept level, in the eyes of the people they most hoped to impress with it.But even the best fiction writing books and screenwriting experts tend to move quickly past the crucial step of choosing a viable idea, to get to the specific plotting and composition of it, because there is so much to master in those later parts of the process -- which feel a lot more like "writing" than developing and mulling over potential story concepts.Professionals, though, tend to understand the primacy of "the idea," and learn that there are certain key elements in story or series premises that really work, and which are worth investing time and energy in. And that's what The Idea focuses on -- laying out what those specific elements are, and how to master them.While its concepts originate from the author's screenwriting experiences, they apply equally to commercial fiction writing, playwriting and other forms of “story” -- because the focus is on what makes an underlying concept compelling enough to appeal to a substantial audience or readership.The "Seven Elements of a Viable Story" in The Idea form an acronym for the word PROBLEM, since every story is really about one, at its core.Each chapter focuses on one of these seven deceptively simple-looking aspects of a strong story, which are anything but easy to master. Mr. Bork highlights his own struggles as a writer, and his arrival at an understanding of how each of these elements works -- and how to know if one's idea really succeeds at each of them. A special section devoted to television writing (and its unique attributes) ends each chapter.Whatever your education and background in writing or story, this book and its unique focus contributes foundationally useful information not covered elsewhere -- which may be the missing piece that leads to greater results, both on the page and in the marketplace.

Genres: Writing, Nonfiction, Crafts, Research, Film, Unfinished, Audiobook

228 pages, Kindle Edition

First published January 1, 2018

About the author

Erik Bork won two Emmy Awards and two Golden Globe Awards for his work as a writer-producer on the HBO miniseries Band of Brothers and From the Earth to the Moon, for executive producer Tom Hanks (and Steven Spielberg, on Band of Brothers). Erik has sold original series pitches to the broadcast networks, worked on the writing staff of primetime drama series, and written feature screenplays for Universal, HBO, TNT, and Playtone. He teaches for UCLA Extension's Writers' Program, and National University's MFA Program in Professional Screenwriting. He has also been called one of the "Top Ten Most Influential Screenwriting Bloggers" for his website, Flyingwrestler.com, and offers consulting and coaching to writers at all levels. His book The Idea: The 7 Elements of a Viable Story for Screen, Stage or Fiction was released in September 2018.

Reviews

[K.J. Dell'Antonia · Rating 5 out of 5]

This is a fantastic and easy to absorb description of how the sausage--that is, the story--gets made, from the very beginning (get your who, your why now and your why is this so hard straight from Day One) through character building and things like believability and originality. It's geared towards screenwriters but is every bit as useful in creating a scaffolding on which to build a novel. A new favorite for me.

[Dee Chilton · Rating 5 out of 5]

I've read many writing and screenwriting books and have always got something from each one of them. This one goes on my 'top books I wish I'd been able to read when I started' list. Clearly written and easy to understand, it will save you 'wasting' time on a 'bad' idea that won't work before you even write it, and aid identification of how to make ideas work better... with the caveat that no writing is ever wasted as a writer develops their 'voice' and craft skills and should always write what fires their passion regardless. Highly recommended reading.

[Matt · Rating 5 out of 5]

Touts the use of the P.R.O.B.L.E.M. method of setting up a screenplay. Can be useful in novel writing as well. A well thought out and written book. I'll keep it close by when outlining my next story. Many useful insights.

[Steven Sweeting · Rating 3 out of 5]

My main problem with this is that it touts itself as something it is not. It suggests it goes beyond the technicality of story-writing (fundamentals like scenes, plot structure etc.), and teaches a different angle on how to conjure up premises worthy of writing.

It does not.

All it does is retread the exact same theory on story-structure with a different point of view, as seen by a script-writer more than a writer of prose.

Aside from a few pages on conjuring loglines (elevator pitches) for agents and publishers, there is nothing new here. Everything geared towards "creating a working idea" is based upon the same, already known fundamentals of story structure.

It's not that the information is bad. But it has definitely been told better elsewhere (The Story Grid by Shawne Coyne). And it certainly offers no real insight or practicality as to how you would actively search for desirable premises.

[Brock Books · Rating 4 out of 5]

About the right size for beating people about the head and shoulders—I mean for citing to your critique group. If you want a prioritized checklist and an explanation of the Idea process, here it is.

Recorded with the patented Phil Spector Wall of Text System, it left me wanting more paragraph breaks. Which are practically free in the digital world.

How Is the World Different from Ours? P. 121

My BS detector went off twice. Once when saying you need to tell the differences between our world and a fantasy world upfront. This might be true in TV SF where only one thing is different, but this seems unwieldy in the fantasy fiction genre. You end up with prologue-itis and deny the reader the process of discovery. Imagine if Silverberg told you everything upfront in Downward to Earth. It would spoil the book.Downward to the Earth Alice's Adventures in Wonderland & Through the Looking-Glass

YouTube Sanderson's Magic Laws, if you think I'm a clone now.

I believe in some books you can illustrate the ordinary world during the inciting incident, if your story is simple enough, and you have the skill.

Otherwise, an easy read, perhaps unintentionally illustrating why dino-TV is swirling the drain. Who wants to watch cop, doctor, lawyer, episodic network television under the age of fifty? Not I, said the fly.

[CC · Rating 3 out of 5]

It's supposed to offer wisdom on how to get a big idea for your script, but mostly it just tells you what a good idea possesses -- though even there, the examples listed are more about the execution (Bridesmaids, Jaws) than the idea.

I agree that scripts suffer if they start too late or when there isn’t enough conflict, or if they have a premise whose end-goal isn’t large or meaningful enough – but implying that creation can be reduced to a simple check-list is deceitful; people don’t write in this manner.

For a book hinging on ideas, there’s no real process explored of how to get yourself to generate more of them. There’s also an odd sort of defeatism in the book – the author makes note of saying multiple times that people only get a few great ideas (ever, in their lifetime?) so don’t expect too much from yourself.

[D. Thrush · Rating 5 out of 5]

I’ve read quite a few books on writing and this one comes at things from a different perspective – your actual story idea and is it viable? Most plotlines will be if you write them in the right way. This book breaks down the elements of what makes a manuscript or screenplay or TV pitch work and stand out. I’ve published 8 books, but this makes me more aware of the elements that resonate with readers. I found valuable information and inspiration in this book. It will help you tweak your plot so it works.

[Chrisitan Herman · Rating 4 out of 5]

This was a helpful book for anyone who loves to write. Its like screen writing for dummies. A lot of simple things that help so much in the long run. I will use this knowledge to make the next great american novel/horror short film/comedy sketch

[Katarína · Rating 5 out of 5]

What an excellent short craft book! Exactly what I needed to hear!

[Dan Howarth · Rating 4 out of 5]

Probably a 4.5. A really chatty, informative voice throughout. Some clear food for thought here.

[Hots Hartley · Rating 4 out of 5]

The craft aspects of the book were applicable. Three particularly memorable, applicable parts stood out to me as clear-cut positives

1.) The approach the author takes in the introduction, describing why and where it's difficult breaking through, the importance of the logline, and the general challenge in the industry of getting noticed. He answers questions on a lot of writers' minds, and he sets out to solve the PROBLEM -- an acronym for key elements to a successful story -- in the chapters that follow.

2.) The section titled "Sticking to the Audience's Ribs" is gold, listing specifically and explicitly ways in which an audience might emotionally react to a story or theme. These are all takeaways that make it very clear what it is we're trying to achieve, and provides a great basis for evaluating ideas.

3.) The process of ideation is actionable. The basic principles listed out from page 208 -- "Note things that you like and are interested in, in the world and in other stories. Keep track of these" etc. -- aren't particularly novel or scientific, but they're presented in a way that leads believably to results: more ideas, habits and discipline in generating them, and ways to filter through the bad ones early. I appreciate the cut-and-dry approach.

The one thing that hinders the message is a viewpoint permeating the text that "Writers almost never break in with a green-lit movie. Rather, breaking in means impressing a manager, an agent, or a producer with a script that likely won't even sell, let alone get made, but that puts them on the radar of the industry, gets them fans, and starts to give them some momentum toward future sales or employment." The realism comes from a good place, a position of setting expectations, but in the end, not all writers are seeking mere "momentum" or "future sales or employment." Point being: Some writers just have an idea (for a book, a movie, or a project), and their sole purpose is to get that idea out there in a consumable form, business-plan and long-term "career" be damned. I don't think the author does enough justice to the creation of singular, standalone pieces of art, whether that be an independent film, a breakthrough novel, or the successful completion of a personal project that may not even fit an existing medium. The idea of submitting ideas just to get employment isn't that appealing; writing a single, timeless piece of work can be the end goal, and that level of singularity isn't addressed with enough respect in this book.

Having said that, I still found the book enjoyable and enlightening to read, and I'd recommend it to writers under the caveat that, like a TV series, it focuses a bit too heavily on building a career, or developing one's idea filter, rather than advancing an idea.

[Stephen · Rating 5 out of 5]

This book hit me hard, right in my chest, because so much good advice appears here. I took plenty of notes from it. The advice is extremely well organized and clearly explained. The book is so concise that it can be read and digested easily. Before you start writing and before you study screenwriting technique, start with a great idea and this book called “The Idea.” You have my word that this book will save you time and frustration.

[Pjs_books · Rating 4 out of 5]

I’ve read a lot of writing books by now. And while most of them have something to offer, The Idea joins the much shorter list of writing books that are worth digesting fully. Short, clear, and helpful. This book lays out the elements that make a story appealing to audiences.

[Mjke · Rating 5 out of 5]

Probably a must-read for all storytellers, no matter if you are a scriptwriter, playwright or novelist. The Idea strips out all the extraneous noise from the storytelling craft and zooms in on what is important: What the reader wants and the essence of story. Highly recommended.

[Paul Kriebel · Rating 5 out of 5]

Pragmatic and Direct

With a sort of “been there, done that” attitude that is is not dogmatic, but empathetic and sympathetic for the aspiring writer, the book cuts to the heart of what is needed to make something that “may” work. Obviously the checklists provided in the book are not foolproof; that’s why you should read the book: it walks you through some of the pitfalls surrounding the checklist items. (Note: my initial interest in the book was simply to get to the checklists.) But the voice and tone of the author is authoritative and colloquial which makes it educational and entertaining as well. I also enjoyed the fact that he did not stray into too much of the comedic or anecdotal like, say, Blake Snyder, whose “Save the Cat!” the author references several times, or as Jessica Brody does in her STC! novel writing book does (both of which are also very good for screenwriting and/or the novel writer). As I read the book, I came to trust the author like an older brother providing genuine, pragmatic advice to his younger brother.

[Michelle Levigne · Rating 4 out of 5]

Writing Book
I heard about this book listening to the Story Blender, a podcast by Steven James.

The subtitle is: The Seven Elements of a Viable Story for Screen, Stage, or Fiction

Each chapter devoted to the elements has a checklist to go through, to see if you're providing the element, meeting the criteria for making your script or book the best it can be. Translation: the most salable, readable, watchable product for the producer or publisher to support.

A sample from the Table of Contents:

Chapter 1: Focus on the idea. The 60/30/10 Rule, The Problem, How "High" is Your Concept? and Nailing the Logline.

Chapter 2: Punishing. Degree of Difficulty, Great Stories Are Like Great Games, Adapting True Stories, Television and the "Web of Conflict."

On and on. Intense. This is one of those books I'm going to have to read several times to get everything out of it, and refresh what I've learned in my mind, so I can apply it to the brainstorming and revising process.

Glad I bought it, and definitely keeping in my library.

[Jennifer · Rating 5 out of 5]

Practical, to-the-point advice on how to write a story (whether a book, film, or show) that engages the reader/audience.

Although Erik Bork is a screenwriter, his advice definitely applies to writers of fiction.

Some of my favorite bits:

So, when we’re looking for an idea for a story (or series), what we’re really looking for are problems, more than any other single thing—problems that will defy our characters’ attempts to solve them.

~

“Why should I care?” is the note that I most fear on anything I write—because it’s our most important objective and the hardest to achieve.

~

I once heard literary manager Victoria Wisdom give some great advice on this topic, which was this: build on successful movies in a genre, that you’d like to emulate, by adding or changing one key element of what has worked in the past.

[Natasha Oliver · Rating 5 out of 5]

The first time I read this book, I was defensive. So, a lot of my reaction was: yep, I know that. Yep. Got it! Ugh, why are these books so successful when they keep telling me stuff I already know page after page.

But upon my second reading, I realized the importance of knowing something versus knowing something in a specific order and as a cohesive topic.

I cannot recommend this book enough to someone. It is best read during the idea phase (bc you don’t have to stop and go back), but I recommend this whatever stage you’re at.

I read it as a workbook and took notes, highlighted, reworked my story idea until it’s solid, and I’m grounded in it as a writer.

The author recommends reading SAVE THE CAT, and so I’m starting that next.

Great read. Open to discussions and/or questions if you have any.

[Никита Самсонов · Rating 4 out of 5]

Надо продолжить эту традицию с рецензиями! В 2021 году я понял что мне нужно прокачиваться как писатель. Идеи и сюжеты есть, но нужно быть гуру своего дела.
Эту книгу купил очень давно, но как и многие работы по саморазвитию, она лежала и ждала своего часа. Он настал.
Абсолютно не большая она рассказывает о том, как важно черпать идеи из всего что окружает: природа, друзья, путешествия, кино, сериалы и другие книги. В ней показывается что многие культовые идеи и вещи были придуманы под влиянием других произведений. Так же показываются и провальные идеи(как писать не надо)
Очень много крутых примеров из сериалов и кино, где идеально прописаны герои, а оторваться абсолютно невозможно.
Ну и конечно советы о том, какое произведение останется в памяти надолго, а какое забудется как страшный сон.

[sohrab mohajer · Rating 3 out of 5]

کتاب بیش از آنکه به توصیفات بپردازد، روایتش را با گفتن صفت‌ها برای توضیح مفاهیم محدود می‌کند و به همین دلیل است که حجم کمی دارد و برای تحلیل‌های کتاب عمق زیادی نمی‌توان متصور بود
همان‌طور که در مقدمه کتاب آمده تأکید نویسنده بر سینمای عامه‌پسند است و نگاهش بیشتر بر اصول و قواعدی‌ست که مخاطب گسترده‌ای را در برمی‌گیرند. نویسنده تا حد زیادی از سینمای هنری و خاص پسند فاصله می‌گیرد و از همین روی نباید چندان به دنبال نگاه متفاوت و تازه‌ای در کتاب باشیم و شاید بتوان مسیر کتاب را به‌نوعی آموزش کلیشه‌های عامه‌پسند و تنها کمی متفاوت نامگذاری‌کرد
درمجموع نویسنده رویکرد محافظه‌کارانه و ساده‌گویانه‌ای دارد و اگرچه مطالب مفید به فایده‌ای را گوشزد می‌کند اما نباید انتظار بیان نکاتی فوق‌العاده را از کتاب داشت

این یادداشت درباره ترجمه نسخه‌ی محسن یاوری نوشته شده

[Emma Cyrus · Rating 4 out of 5]

Although Bork is a screenwriter, his book provides solid guidance for novelists as well. His premise is that a well-articulated “idea” must grab the attention of industry gatekeepers in synopsis form.
While much of this content is available in other forms spread across writing courses, Bork’s accessible style and clarity of language, focused as it is on ‘before you start writing,’ makes it an excellent and economical starting point for any project. Further, he encourages writers to see that their wordsmithing skills are less important than the willingness to undertake this discipline up front.
I recommend The Idea to writers who want to improve both their craft and their marketability.

[Sam Reeves · Rating 5 out of 5]

This book is one of the most phenomenal tutorials I've read about how to break through writer's block and grow ideas to a professional level.

To my knowledge, the following applies only to the Scribd edition: I have just one criticism, which has nothing to do with the content of the book. The formatting jumps track here and there. Every few pages, the last word or so of a paragraph is broken. For example, if a sentence were to end "... will maintain a reader's interest," the paragraph might say instead, "... will maintain a reader's in- a reader's in-". (Not a direct quote. Just an example off the top of my head.)

[Kevin Everett Fisk Jr. · Rating 5 out of 5]

I needed to read and digest something like this. It has allowed me to already brainstorm and think of ways to “fix” an idea that I am in love with, but couldn’t make “work”. Yes, I still have an infinite amount of progress ahead of me to make it better, but this book helped me feel like I have the confidence and new found knowledge to pursue the idea in a constructive way. An idea that can be pitched. One that just doesn’t live in my head. One that I don’t have to just dwell on for the rest of my life. One that can finally be on paper.


P.S.
Yes, I have more than one idea I want to explore.

[F.J. Harmon · Rating 5 out of 5]

Erik gives a heavy dose of reality in his thorough exploration of the macro elements for a great TV Series/Screenplay/Novel. Erik offers clear examples of what he means by the PROBLEM criteria for a great story and the importance of your logline. His bottom line that readers should come away with an emotional response to your work if it is good. I came away with the realization of what a monumental task it is to write a good story. Writing is an exercise in frustration and futility and should not be attempted by anyone with a shred of mental competence.

[Jeff · Rating 5 out of 5]

Bork's contention is that many aspiring screenwriters (actually, that should be storytellers) fail to create successful (meaning both "compelling," but also "commercial and produced") stories because they don't take enough time in evaluating whether or not their idea fulfills the 7 criteria necessary for creating a truly engaging and successful story. Well, he convinced me! This information is well-explained, entertaining, and, most importantly, crucial for creating great stories. Highly recommended!

[Susan Lerner · Rating 5 out of 5]

I am thinking of turning one of my novels into a screenplay for a TV limited series, and this book has been helpful. It made me realize that my novel is just a starting point, but the tools of screenplays are so different than those of novels, that the story will inevitably change. I am now thinking more about how to make it more "high concept". As I read through the book, I kept getting ideas (good title for the book!). He writes clearly and it's well organized.

[William]

Didn't finish, but didn't consciously abandon. At the same time, I bought it as a substitute for actually writing, and my experience is that when I'm "wanting to write" but not writing, I want to buy a book about writing but I don't actually want to read it. So next time I'm wanting to write but not writing I'll probably buy another book that says the same thing as this says. 4.5/5 for being a thing to buy.

[Rand McGreal · Rating 5 out of 5]

Essential Skill

All writing begins with an idea. Erik Bork makes that the subject of his focused informative book. No writing will succeed unless the author selects the right idea. Erik Bork takes you through the process of making that selection. This book is great. Use it as the starting point of your writing journey or as a checklist, but use it.

[Kurt · Rating 5 out of 5]

Succinct, solid and helpful.

Great, brief book that isn’t stuffed with filler. Well worth the price. Lucid and intelligent discussion of the role THE IDEA has in the modern screenplay or teleplay, and why you’re probably not spending enough time in that stage. Great words of encouragement, too. A new hero of mine!

[Louis Lamoureux · Rating 5 out of 5]

The book is an excellent guide for creating a compelling story. It is well written. In the first chapter, the author lays the groundwork for the seven elements, then he presents a chapter on each. It is insightful, clear and concise. No wasted sentences. I am working on the second draft of a novel and can see places where I will change the story based on the book's advice.