Writing the romantic comedy billy mernit ebook free download

Review "Writing the Romantic Comedy is so much fun to read it could pop a champagne cork. During his many years in the entertainment industry, he has worked as a script consultant and served as a story analyst for Universal Studios, Sony, and Paramount; written for NBC's Santa Barbara; and composed songs recorded by Carly Simon and Judy Collins. Terrific By Joseph Oppenheim A terrific book to learn how to write a romantic comedy screenplay.

Things worth noting from it are Story fundamentals - a Characters: plot comes from people, b Plot and structure: how a character deals with a given situation, makes us ask what comes next, three acts - beginning, middle, end, c Theme:an idea to be explored, d Imagery: visual metaphors, pictures, e Point of view, f World: setting - time, place, period, weather, atmosphere, and g Style: writer's voice.

Rom-com - meet, separate, reunite,, conflict, crisis, resolution. Character-driven, emphasize internal conflicts, hero usually emotionally incomplete - power of love, hero either grows or not. Sub-genres -ensemble, marital, triangle, cross-genre hybrid. Includes history of rom-coms. Key to good rom-com characters - purpose, empathy, complexity, credibility, surprise, contradictions, quirks. Guy not in it for sex, girl not in it for money. Couple must have chemistry, interlocking needs, misfits who fit only each other.

Theme has to be personal, the writer's point of view, comments on the human condition, speculates on a possible truth. Axiom - statement accepted as true, argument, good to explore, pose as a question. Theme has subplots. Jokes rooted in truth are best. Tell simple stories with complicated emotions. Keep it credible. A plausible world. Have sensibility and consistency, set rules in story and follow them.

Be able to pitch movie in one sentence. Be able to say what genre or sub-genre. Be able to describe story in 3 sentences - one per act. The art of funny - reversal like girl is the aggressor ,be serious others do funny things to them , make them hurt then happy, define your tone -farce, satire, parody, black comedy, dramedy. Oscar-winning Shakespeare in Love is certainly proof that viewers will happily buy into the most incredible of contrivances. Even before eventual cowriter Tom Stoppard a Brit steeped in theatrical lore signed on, American Norman did his homework and found the very linchpin of his plot, born of a simple historical fact: women were not allowed on the stage in ; it was the law.

Norman shrewdly capitalized on this phenomenon in working out his storyline. Four movies from the past decade that were truly memorable made their mark by putting a spin on the standard construct.

There was 'boy doesn't meet girl until the last five minutes of the movie' 'Sleepless in Seattle' , 'boy meets girl after they're both dead' 'Defending Your Life' , 'boy only meets girl in and around weddings and a funeral ' 'Four Weddings' and 'boy meets girl, boy loses girl, boy loses girl, boy loses girl, ad infinitum, until he finally gets it right' 'Groundhog Day'.

Try to come up with a concept that will enable your rom-com to stand out from the crowd. Failing that, a hook in the execution can make the difference. Take a bold leap and find your tweak. It may make all the difference.

Everybody remembers the 'fake orgasm in the deli' scene from 'When Harry Met Sally. Not many come to mind, which may be why some recent rom-coms that HAVE pushed the erotic envelope have really scored with their audiences.

The zipper scene from 'There's Something About Mary,' the dress straps 'Jerry Maguire' breaks, 'American Pie's pie -- successes like these show that the humor to be found in sexual situations is well worth pursuing.

So mine that humor. Activate intimacy -- which is what truly erotic and funny encounters are about: people being vulnerably, painfully exposed, whether it's literally, metaphorically or both.

At the same time, don't forget that any comedy should provide at least a couple of truly funny set- pieces. Has your romantic conflict gotten so serious that the script is light on laughs? Find the humor in it and maximize.

Steep your characters in painful, truth-baring situations, and look for gags to build bigger gags on. Smiles and chuckles don't sell a script. He's a this, and she's a that, and high jinks ensue isn't enough. The presence of the online book or soft documents of the Writing The Romantic Comedy, By Billy Mernit will certainly alleviate individuals to get the book.

It will additionally save even more time to just search the title or author or author to obtain up until your book Writing The Romantic Comedy, By Billy Mernit is revealed. After that, you can visit the link download to see that is offered by this site.

From the slapstick shenanigans of Hepburn and Grant in Bringing Up Baby to the sexy repartee of Shakespeare in Love, romantic comedies have delighted filmgoers -- and challenged screenwriters -- since Hollywood's Golden Age.

Whether you're a first time screenwriter, or an intermediate marooned in the rewriting process, this thoroughly charming and insightful guide to the basics of crafting a winning script will take you step by step from "cute meet" all the way to "joyous defeat. Writing the Romantic Comedy features case studies drawn from beloved romantic comedies such as When Harry Met Sally, Annie Hall, Tootsie, and The Lady Eve, as well as field-tested writing exercises guaranteed to short-circuit potential mistakes and ensure inspiration.

Mernit should know. As a story analyst who has read nearly 4, screenplays in the last 10 years, Mernit has seen the good, yes, but also too much of the bad and the ugly. Believe it or not, it's not enough to have Meg Ryan and Tom Hanks play the leads. You actually have to create characters for them--characters that an audience will believe "absolutely must end up together. Finally, given that the conflicts in romantic comedies are internal, you needn't look far for inspiration when you feel stuck.

Review "Writing the Romantic Comedy is so much fun to read it could pop a champagne cork. During his many years in the entertainment industry, he has worked as a script consultant and served as a story analyst for Universal Studios, Sony, and Paramount; written for NBC's Santa Barbara; and composed songs recorded by Carly Simon and Judy Collins. Terrific By Joseph Oppenheim A terrific book to learn how to write a romantic comedy screenplay. Things worth noting from it are Story fundamentals - a Characters: plot comes from people, b Plot and structure: how a character deals with a given situation, makes us ask what comes next, three acts - beginning, middle, end, c Theme:an idea to be explored, d Imagery: visual metaphors, pictures, e Point of view, f World: setting - time, place, period, weather, atmosphere, and g Style: writer's voice.

Rom-com - meet, separate, reunite,, conflict, crisis, resolution. Character-driven, emphasize internal conflicts, hero usually emotionally incomplete - power of love, hero either grows or not. Sub-genres -ensemble, marital, triangle, cross-genre hybrid.

Includes history of rom-coms. Key to good rom-com characters - purpose, empathy, complexity, credibility, surprise, contradictions, quirks. Guy not in it for sex, girl not in it for money. Couple must have chemistry, interlocking needs, misfits who fit only each other.