If I could only write on more spec script, what would it be? So this time, instead of taking a poll or applying some complicated, statistical rubric, I just asked myself a simple question: Then of course there's William Goldman's rule, which applies to anyone who would try to tell you whether an idea is good or bad: Nobody Knows Anything. Sometimes it's difficult to express why the jagged kernel of an idea is so compelling, and why a slick and snappy concept with a wicked hook inspires nothing but the urge to take a long nap. The logline of the first draft may be completely different than the logline of the 2nd or 3rd draft. The creative downside is that some stories emerge through the writing process itself. As readers of this blog know, I'm a big advocate of getting feedback at every stage of the writing process (see This Is What A Rewrite Looks Like.) What could more logical than getting out of one's head and seeing how an idea plays with smart, talented fellow writers?

Similarly, students in classes or pros in writing groups will often pitch their ideas to their peers like a test audience. The emotional downside is that writers can come to feel stifled when dozens of their ideas are shot down by their reps. The logic is that agents and mangers have a better sense of which concepts might catch fire in the spec market and lead to a sale. Often managers and agents will ask their clients to submit loglines so that they can pre-approve and co-develop the concept from the ground up. There are typical ways that screenwriters decide on story ideas. This is the continuation of What the F*ck Should I Write About?, in which I searched my notebooks for a new story idea, but only found ones that were utterly preposterous.

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