by Erik Bork | Feb 26, 2013
Loglines describe a movie (or series) idea in a quick sentence or two that provide enough of an idea of what it’s about to (hopefully) seem like a grabby, fresh and commercially viable concept. They present a compelling situation for characters one can imagine...
by Erik Bork | Nov 22, 2012
I recently got to see the L.A. production of THE BOOK OF MORMON musical. I felt I basically knew the story from listening to the songs on the original Broadway cast recording. But not knowing the spoken dialogue or visuals, I was interested to see how the narrative...
by Erik Bork | Nov 10, 2012
On a plane ride a few days ago, I settled in to watch two of the funniest human beings on the planet (Will Farrell and Zach Galafianakis) in a movie directed by the awesomely talented Jay Roach (Austin Powers, Meet the Parents, HBO’s Game Change). All I knew about...
by Erik Bork | Oct 25, 2012
Ben Fountain’s new novel Billy Lynn’s Long Halftime Walk was recently named a (top five) finalist for the National Book Award for fiction, and boy, can I see why. I found it a great example of what “literary fiction” can do so well, that...
by Erik Bork | Aug 31, 2012
Yes, it’s true that a writer might only get the opening pages of their script read — and that it will likely be put down right away if those pages don’t immediately engage the busy industry professional who has given it a chance by opening it. Most screenwriters...
by Erik Bork | Aug 2, 2011
A writer I work with as a script consultant recently shared a phrase with me that came from her friend Craig Hammill (thanks, Craig!), which perfectly encapsulates a point that I often make with writers: “Don’t withhold; reveal, and complicate.” What...
by Erik Bork | Nov 25, 2009
One issue I commonly find in scripts I read is a lack of clarity on whose emotional point-of-view the story is being told through. I think that we as writers don’t instinctively realize just how important it is to choose a main character and STAY WITH THEM. I...
