Most storytellers approach idea generation the wrong way. They sit down, try to think of a "good" idea, and immediately start filtering. That filter—the one that whispers "that's been done before" or "that's too weird"—kills creativity before it has a chance to breathe.
The solution? Stop trying to have good ideas. Start trying to have bad ones.
The Problem with "Good" Ideas
When we chase "good" ideas, we unconsciously chase familiar patterns. We think of what we've seen work before—what Hollywood greenlit, what went viral, what our favorite creators made. The result? Ideas that feel safe but derivative. Ideas that could have come from anyone.
The irony is that the stories we love most are often the ones that sounded ridiculous in concept. A rat that wants to be a chef? A movie told entirely from the perspective of toys? These ideas survived because someone was brave enough to pursue them despite how "bad" they sounded.
How the 20 Bad Ideas Method Works
The process is deceptively simple:
Step 1: Set a Timer for 15 Minutes
Speed is your ally. You don't have time to judge when you're racing against the clock.
Step 2: Write 20 Ideas Without Stopping
Not 19. Not "as many as you can." Twenty. The magic happens in the struggle to reach that number. Ideas 1-5 are usually the obvious ones—the ideas you've been sitting on. Ideas 6-12 start to get weird. Ideas 13-20? That's where the gold hides, buried under the pressure to keep producing.
Step 3: Embrace the Cringe
Your ideas should make you slightly uncomfortable. If every idea feels "sensible," you're still filtering. Push harder. What would you never admit you wanted to write? What idea would make your film school professor raise an eyebrow?
Step 4: Look for Patterns
After your 20 ideas, step back. What themes emerge? What settings keep appearing? What character types attract you? These patterns reveal your authentic creative voice—the stories only you can tell.
Why Bad Ideas Become Good Stories
The "bad" ideas that emerge from this process aren't actually bad—they're unfiltered. They come from a place of genuine interest rather than calculated appeal. And that authenticity translates to the page and screen.
Consider what makes a story resonate: surprise, emotional truth, a unique perspective. None of these come from playing it safe. They come from following an idea that excited you, even if you couldn't immediately explain why.
From Bad Idea to Strong Logline
Once you've found an idea that sparks something—that weird one from idea #17 that you can't stop thinking about—it's time to give it structure. This is where a good logline comes in:
- Setting: Where does this story take place?
- Protagonist: Who is at the center?
- Problem: What challenge do they face?
- Stakes: Why must they confront this problem?
- Obstacle: What stands in their way?
- Goal: What are they trying to achieve?
The logline doesn't restrict your "bad" idea—it supports it. Structure serves the unique concept, not the other way around.
The Real Reason This Works
The 20 Bad Ideas method works because it separates generation from evaluation. When you try to do both simultaneously—come up with ideas while judging them—you create paralysis. By explicitly giving yourself permission to be "bad," you unlock the creative freedom that leads to truly original work.
Your best story isn't the one that sounds most like a hit. It's the one that sounds most like you.
Ready to try the 20 Bad Ideas method with guided tools and structure? That's exactly what we're building at Storytempo.