What happens when 'happy ever after' isn't quite so simple?
Today's attitudes to love and romance are as varied and diverse as individuals, and audiences want and need more sophisticated, authentic films that show how we live and love now. So, what does this mean for the screenwriter developing a romcom? And how do they write heart-warming stories for a genre that is constantly evolving, from bromcom to zomcom to famcom?
Writing and Selling Romantic Comedy Screenplays offers a fresh approach to creating narratives for this ever-changing genre. Moving away from rigid and limited definitions that have evolved out of mainstream genre films, the book embraces a working definition that crosses cultural and national boundaries to give screenwriters around the world a truly international perspective on writing comedic love stories.
It is the first screenwriting guide to reflect the diversity of approaches in today's films that deal with the human need for emotional and physical intimacy using humour—the contemporary romantic comedy.
Features of the book include:
-Illuminating, challenging and provocative about the state of the rom-com genre. Why do some films feel so dated, while others are perennially relevant?
-Explores and defines all subgenres of romcom, such as zomcom, bromedy, soromcom and famcom.
-Uniquely draws on creativity, screenwriting genre theory and film industry practice.
-Stimulating creative exercises at the end of every chapter, and 'hot tips' throughout.
-Adaptable concepts that can be applied to both feature films and short films.
-Encourages screenwriters to define their own values about love to ensure their voice and message is original-and commercial.
-Case studies and analyses of produced screenplays, including Dostana, Due Date, I Give it a Year, I love You, Man, Midnight in Paris, Ruby Sparks, Tamara Drewe, Ted, and Warm Bodies
-Interviews with writers, directors, and producers.
-Genuine international perspective
-Indispensible guide for both the student and the professional writer or filmmaker.
