Billy Mernit Writing The Romantic Comedy Pdf Reader. Writing a script outline is easy once you know the 8 plot points in every story. Download the Ultimate.

By Brianne Hogan. Billy Mernit knows a thing or two about romantic comedies. Actually, he knows seven things about romantic comedies. Those seven things being the essential plot beats of what makes a solid romantic comedy. Once a successful romance novelist who penned love stories for Harlequin under a nom de plume, Mernit, who has been working as a story analyst for major Hollywood studios for over 20 years, is the author of the definitive rom-com screenwriting guide,. When he’s not analyzing and tweaking scripts at Universal – where he has worked on such successful comedies as Bridesmaids and Trainwreck – he’s teaching his rom-com template at UCLA Extension to aspiring screenwriters and acting as a private script consultant for people in the industry.

Creative Screenwriting chatted with Mernit on the state of romantic comedies, what fascinates him about the genre, and why his beats are so essential in writing a solid rom-com script. Melissa McCarthy as Megan in Bridesmaids. Image by Suzanne Hanover Why focus so intently on the romantic comedy? What is it about the genre that fascinates you? I kind of grew up on it. My folks were big fans of the early Hawks screwball comedies with Katharine Hepburn and Cary Grant.

I saw a lot of those films when I was a kid, and I always enjoyed that kind of sophisticated comedy. Films like Bringing Up Baby, which was completely nonsensical and yet very smart at the same time. There was something in the flavor of that. And for guys my age – I grew up in the ‘60s – Cary Grant remained a role model.

Even as you grew your hair long, you knew there was something about that persona that was immensely appealing. So I guess I identified with that kind of earlier romantic comedy. And when I became a romance novelist, in a sense, I was rethinking and reconceiving romantic comedies for the Harlequin novels that I was writing. I stayed with romantic comedies out of my love for the genre, and I also think romance is in my DNA. I think that I always related to love stories, but not love stories that are tragic; love stories that I can relate to. Even though I am a straight, happily married man, I am interested in gender politics and I always had a lot of affinity for the female point of view – I guess I was a feminist before my time – and it’s one of the few genres in which you get to examine male versus female points of view and really go in depth on relationship dynamics. What makes a relationship work, and what is this thing called love?

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And all of that has been endlessly fascinating to me. In your book,, you defined the seven basic romantic comedy beats. Can you elaborate on why these beats are so essential? Writing the Romantic Comedy, by Billy Mernit Here’s the thing: I am not a fan of formula at all. I have a bone to pick with everyone from Blake Snyder to Syd Field and beyond in terms of the hero’s journey and that ‘one size fits all’ story. But what I found in romantic comedy was that when I looked at it and seriously analyzed what made it tick, I came to the realization that the standard romantic comedy paradigm actually parallels a very natural organic phenomenon in real life human relationships. Meaning romantic comedies, for the most part, in their purest states, are courtship stories.

When you think about what happens “when boy meets girl” there is a natural progression for humans. You meet someone, you become interested in them, and invariably, because we’re all human, there is always some sort of conflict. So, generally speaking, we all get tested. You think, “Is this guy for real?” “Is this woman the one for me?” And there is usually a point, because we are human, that we will fail the test. You find out she snores, or she finds out that your mother is a horror show, so there is something that causes a problem within the relationship. The conflict in relationship often comes from within, i.e. The man or woman has to resolve his or her own inner issue, in order to be ready to commit to a relationship, so it’s not simply resolving a problem with the other person.