by Erik Bork | Dec 31, 2015
When I work with writers developing a half-hour pilot, whether as private clients or through my course, I often recommend Scott Sedita’s book The Eight Characters of Comedy. Written primarily for actors (Sedita is an acting coach in Los Angeles), it can also greatly...
by Erik Bork | Oct 31, 2015
I’ve consistently found that most of the notes I have on any script I read — and certainly all of the most important ones — are notes I would have had on the basic idea behind the story, if it had been pitched to me before it was written. And so, the #1 piece of...
by Erik Bork | Aug 1, 2015
I think the best television characters want something they can never have — and spend every episode pursuing it. What makes them compelling is that they are under siege, in some way, by the world around them, and unable to secure that version of their life that they...
by Erik Bork | Jul 4, 2015
The best movies tend to have a growth arc for the main character. In the end, they have often somehow become better versions of themselves, as well as having solved some big problem in their world. This means they have to start the movie as the “not best version of...
by Erik Bork | Jun 27, 2015
The main character in a movie generally has a big problem that it takes the whole movie to solve. And this is what a professional reader of a script is generally focused on understanding first. What is that problem? Why will it be so difficult to solve that it takes...
by Erik Bork | Jun 6, 2015
If I could sum up the number one most common overall weakness in screenplays I read, it would be that the main character does not have a big enough overall problem, and a high enough level of difficulty and complications as they try to solve it. When you get the...
by Erik Bork | May 24, 2015
Jumping around in time with flashbacks can be confusing in a script, and can make it hard for a reader to get oriented and settle into one particular story, in a specific time frame. And this is what tends to really grab readers — a discrete challenge for a main...
by Erik Bork | Jun 23, 2014
With the rise of somewhat unlikable main characters in cable dramas like The Sopranos, Breaking Bad, and True Detective, anti-heroes are everywhere. We don’t need to “sympathize” or even “root for” the main character(s) in a story anymore, it seems — as long as...
by Erik Bork | Sep 17, 2013
What most interests me about Downton Abbey is how it so masterfully demonstrates two qualities that I am obsessed with, when it comes to good writing and good serialized TV writing, especially. 1. It makes us care about the people. God, does it make us care! To me,...
by Erik Bork | Jul 31, 2013
On Wednesday August 7 at 1 PM PDT, I’ll be teaching my fifth webinar for The Writers Store — on one of my favorite topics: Blake Snyder’s Save the Cat “genres.” Blake believed pretty much every great and successful movie falls into one...