Writing the Romantic Comedy: From "cute Meet" to "joyous Defeat": How to Write Screenplays That Sell

by Billy Mernit

Book Overview

"Writing the Romantic Comedy is so much fun to read it could pop a champagne cork."--Alexa Junge, writer and producer of Friends Revised and expanded to celebrate a new generation of romantic... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0060935030
• ISBN13: 9780060935030
• Release Date: July 2001
• Publisher: Harper Perennial
• Length: 304 Pages
• Weight: 0.54 lbs.
• Dimensions: 0.7" x 5.3" x 8.0"

Customer Reviews

Isn't It Romantic?

I'm a sucker for romantic comedies. Watching stories about cuddly, charismatic couples falling in love can turn this hard-bitten cynic into a mushy puddle of Jell-O in no time. They're this writer's Achilles' heel. You could show me the worst romantic comedy ever made, and I'd still probably find something good to say about it. So, I was delighted to come across Billy Mernit's "Writing the Romantic Comedy." Although I've done some screenwriting in my time, my head isn't exactly bursting with ideas for romantic comedies. But since I'm an admirer of the genre, Mernit's book felt like a guided tour through a favorite building when you don't have any plans to construct a building of your own. Hollywood producers notoriously hate to read, so if you're a Hollywood writer, you need to pick up a few tricks to make reading as easy for them (or their surrogates) as possible. As a writer for the entertainment industry, Mernit has obviously picked up a few tricks of his own, making his book a brisk and enjoyable read. The historical overview is appreciated almost as much as Mernit's disassemblies of some of the rom-com's stand-outs to show how the genre ticks. Although the book is sprinkled with a few factual errors (for example, on page 177, he refers to author Milan Kundera as "Polish" instead of Czech), these aren't enough to upset the taco stand. Mernit's explanations of the genre's components are straightforward, artful, but clearly presented. And his dubbing of the Mr. Wrong character (a convention in many rom-coms) as the "Bellamy," after actor Ralph Bellamy who specialized in such roles, had me laughing out loud. My only criticism of the book is a mild one: There ought to have been at least a handful of movie stills illustrating some of the films that Mernit talks at length about -- this would have heightened the book's visual interest. I highly recommend "Writing the Romantic Comedy" even if you're not a screenwriter. Understanding how the genre works may make you appreciate it even more. I do have one word of advice for aspiring screenwriters: If you're just starting out in the craft, you won't want this to be the first book on the subject that you read. Start off with something that teaches you the nuts and bolts of scribing for the movies, like "Screenwriting" by Syd Field or one of its clones. Next, I would recommend "Writing the Character-Centered Screenplay" by Andrew Horton, which talks a little more in depth about the vital components of character and structure. For good measure, you might also want to check out "Making a Good Script Great" by Linda Segar for advice about how to tighten a screenplay. Only then will you want to give Mernit's book a thorough going-over. If you're an old hand at screenwriting, you're probably already familiar with these books. Once you've got all of them under you're belt, you'll be inspired to sit down at the keyboard and write and write. It may only be your name over and over, bu

This goes on the shelf next to my computer!

A fabulous book not only on writing romantic comedy movies but on writing, period. In particular, a romance writer of any medium would find this invaluable. Mr. Mernit examines the basic components of story and character, but also provides fascinating insight to such subjects as theme. End-chapter exercises are unusually helpful and enlightening. Critiques of a few movies show just how they accomplished what they did. (The examination of "Tootsie" is amazing!) I appreciated the breakdown of how romantic comedy in the movies has evolved through the years and am now collecting many of the titles listed in the book that I've never seen. (The recent AFI list on romantic movies is also a good source for more study.)This book is on my shelf now right next to Syd Fields and Debra Dixon. I will certainly be referring to it again and again in the years that come.

One of the better Screenwriting books

This book was a very pleasant surprise. First, it's really the only current book of its type to focus on the romantic comedy genre. Second, it doesn't neglect screenwriting in general, yet at the same time does not overdue the details of general screenwriting, which can be had in other books. Third, he's a good writer and knows how to keep the material moving. Fourth, mixed in with everything else are excellent in-depth analyses of top romantic comedies. I found his analysis of Tootsie especially good. It prompted me to take out the movie and see it again but with new eyes. Fifth, there's really a lot more in this book than I can write about in this small space, but I particularly gained from his chapters entitled "The Art of Funny" and "Being Sexy."My one complaint is that I was not too sold on his seven part structure which all romantic comedies can be broken down into supposedly. Perhaps he's correct, but formulaic approaches just irk me. Maybe one day I'll feel differently. Overall, though, this is an excellent book, delivering what it promises, and worthwhile to have around for rereadings in part or whole.

My thoughts on the book

I've been looking for a book like this for a long time. Most of the screenwriting books out there just cover the usual nuts and bolts of screenwriting and cite the same movies as examples (i.e. Citizen Kane, The Verdict). I found this book very useful because it was specific for the Romantic comedy genre. The author obviously studied the genre exensively as hundreds of romantic comedies old and new are cited. The book has a very good chapter on the basic structure road map of romantic comedy--but leaves enough flexibility and points out exceptions to the rules...like Sleepless in Seattle where the couple doesn't technically meet until the very last scene (but the screenwriter got around the rule well). I also liked the way the book lays this out to you in Layman's terms, not like the Robert McKee book where you end up more confused by the end than when you started. The book also offers some good chapters on Theme, imagery,dialogue, character chemistry, story credibility and "being funny" and offers specific case analyses at the end of the chapter to highlight what the author's talking about. The book also goes into the history of romantic comedy, the future, and a list of sub genres and sub categories--but what really made it worth my money was the chapters on theme and structure and the case studies. Now, if only there were more books out there on all the other genres...

A Dream Come True!

As a struggling romantic comedy screenwriter, I found this book to be the perfect bedstand accessory, especially when insomnia strikes as I wrestle with my seemingly incessant story problems. And as a former student of Mr. Mernit, if you can't take the class, this is the second best way to get his wisdom into your brain and improve your work! I've started to watch romcoms, as he calls them, and recognizing what he's discussed such as the uniting force of humiliation in public places and the cute meet. Billy, thanks for giving birth to this baby!!