The Contemporary Romantic Comedy

ImagineAZ · Jan 30, 2008

OK, here's the dilemma that sent me searching for help and eventually led me to this awesome site:

It was a true life story that inspired me to write this screenplay. I want(ed) to write a story about two unique and different people, what brings them together and how they make it work (or not work.)

The thing is: I don't feel like I want to add a silly contrivance and I don't want to relegate the relationship to a subplot, secondary to some grander story about a bank robbery or a pregnancy or whatever. I don't want the guy to be a Martian and I don't want the girl to be a mermaid. I don't want anyone to suffer from amnesia.

But here's the big one: I don't want a triangle. I want it to be about the two of them and why it's difficult but rewarding for them to be together.

But I also admit that I want this thing to have a chance to sell, to actually be a movie one day.

The closest comparisons I could make would be "Harold and Maude" or "Amelie." I'm not claiming that I've got something as powerful as those two, but they're good examples of movies that worked without anything supernatural, without multiple love interests, and without anything external binding them together or driving them apart.

Is this something today's story analyst would look at, skim through, and ask "Where's the story?" Is there room in today's cinematic world for something like this?

Thanks for any opinions.

Imagine

NikeeGoddess · Jan 30, 2008

there's a big difference between romantic comedy and romance w/comedic elements like ghost, being there, and then there's the romance with no comedy like bridges of madison county, birth. for the latter two i think the story has to be seemingly about something other than the romance but it's the strength of the romance that drives the story forward.

ImagineAZ · Jan 30, 2008

I'm definitely talking about a comedy, partly because the real life situation that inspired the story was quite funny to me.

Plot Device · Jan 30, 2008

ImagineAZ said:
without anything external binding them together or driving them apart.

So where then does "conflict" come into it all?

No conflict = no plot.

ImagineAZ · Jan 30, 2008

The conflict is completely internal. It's a very vertical story. Therein lies my question.

What was the conflict in "Harold and Maude" or "Amelie" or "When Harry Met Sally" or "Annie Hall"? Those are almost completely vertical stories, but only "Harold" was a writer's first screenplay. I'm thinking that maybe the others would not have been sellable as spec scripts.

So you're saying that external conflict is needed?

ImagineAZ · Jan 30, 2008

Actually, "Harold and Maude" isn't such a perfect example, because Harold's mother was a bit of an external conflict, but she really didn't have much influence on Harold in the story. In fact, that story hardly has any internal conflict either; it's mainly about two unusual people getting to know each other. And it's one of my favorite movies.

Plot Device · Jan 30, 2008

ImagineAZ said:
The conflict is completely internal. It's a very vertical story. Therein lies my question.

What was the conflict in "Harold and Maude" or "Amelie" or "When Harry Met Sally" or "Annie Hall"? Those are almost completely vertical stories, but only "Harold" was a writer's first screenplay. I'm thinking that maybe the others would not have been sellable as spec scripts.

So you're saying that external conflict is needed?

I am ashamed to admit I haven't seen ANY of the four specimen films you're pointig to here (and I do realize they are all considered GREAT films, so that's to my detriment that I have not seen them). So I can't grasp the base reference/comparison you're striving for here. The best I can say is I've seen many CLIPS from those films, so I have SOME exposure to them, but not a clear view of their actual structures. (And I'm not sure what you mean by a "vertical story" so I guess that's a hip screenwriting term I've missed out on. I've heard of what's caled "vertical writing" which insists upon lots of short and succinct action paragraphs and plenty of white space, but I'm not at all sure what is meant by a "vertical story.")

I can't claim to be an expert on the rom-com. But my understanding is that ALL stories must have conflict. If you're going for what you are calling an "internal" conflcit, you better make it interesting and dress it up with KILLER dialogue the likes of which wold make Tarantino and Woody Allen cry with envy. Otherwise you're PROBABLY in danger of straying into the territory of novel with lots of private monologues and the voice-overs of people's inner thoughts, and other cinematic no-no's that are best left to a novel.

::ETA::

My favorite rom-coms are "Maid in Manhatan," "My Big Fat Greek Wedding," "Sleepless in Seattle," "Fever Pitch" and "While You Were Sleeping." All of them had external circumstacnes that caused roadblocks for the two would-be lovers be together.

ImagineAZ · Jan 30, 2008

Well, what you're saying is exactly what I was thinking people would say, and exactly my dilemma. I am going to write the story that I have in mind regardless, but I'm just thinking that it will ultimately find its only home in my computer.

By "vertical," I simply mean that the conflict is mainly inside the minds of the characters, rather than external. Conflict can exist on personal and extra-personal levels, but it all revolves around the internal issues. "Vertical" explores each event/moment more deeply, but doesn't have that many events.

"Horizontal" would mean that lots of events happen to push the story, and the conflict is often only external. Horizontal simply means "moves along the horizontal timeline," meaning "has lots of events."

Without spoiling anything, I'll just say that the plots for those 4 movies are extremely simple, almost to the point of being non-existent by pop-cinema standards. I've often had funny conversations with people by starting with the question "What is the plot of 'Annie Hall'"? There really is no plot. It's just a year in the life of two really goofy people. Same with "Harold and Maude." The characters learn from each other and change, but they don't really DO anything.

In my story, there is personal and even extra-personal conflict, but it all revolves around the emotional issues. Any external conflict is caused by their internal conflict, rather than the other way around.

dolores haze · Jan 30, 2008

Why not write it as a novel?

dpaterso · Jan 30, 2008

I think maybe you've got an inside-out romantic comedy. Instead of hoping they surmount the barriers that exist against their coming together, the audience wonders if these two people are even right for each other, and will they remain together. But that's still technically romcom, 'cause it's a "will they or won't they?" situation, with laughs.

-Derek

ImagineAZ · Jan 30, 2008

dolores,

Two real events from my life inspired short stories. This one inspired a screenplay. I can't readily explain it, but there was never a question in my mind that the earlier events in my life were short stories, and there was never a question in my mind that this later situation in my life was a movie.

And what makes this story funny (to me anyway) is the way the inner conflict plays out physically. And I've used cinematic techniques to demonstrate the thematic message I'm going for. And most importantly, it's not a story about tons of thinking. The characters think they are far more self-aware than they are, so they don't even realize there is deep introspection to be done.

Flu · Jan 30, 2008

From your posts, it sounds like this is a story you're passionate about. So I'd say, write it and worry later about finding a home for it.

If it's excellent, I think there's definitely room for this type of movie. And if you don't immediately find a home for it, you may have more luck in the future.
Rom com is one of those genres that never really goes away. There's always an audience for them, they're usually not expensive to make, and the script will probably stay current for a long time without needing major changes.

-Johan

ETA: Ah, I think you already wrote it. My bad. Good job! My point remains.

ImagineAZ · Jan 30, 2008

dpaterso said:
I think maybe you've got an inside-out romantic comedy. Instead of hoping they surmount the barriers that exist against their coming together, the audience wonders if these two people are even right for each other, and will they remain together. But that's still technically romcom, 'cause it's a "will they or won't they?" situation, with laughs.

-Derek

Derek, there's no maybe about it. You're exactly right. It's an inside-out romantic comedy.

A recent example of "Are these two people even right for each other?" would be "Knocked Up."

ImagineAZ · Jan 30, 2008

Flu,

Yeah. I was just kind of disappointed when I came to the realization that I have something to say and nobody's ever going to see it. But that is exactly what I'm going to do. Thanks

dpaterso · Jan 30, 2008

ImagineAZ said:
A recent example of "Are these two people even right for each other?" would be "Knocked Up."

So... being able to "compare" with a recent hit even in the most general terms is a good thing, right? That's maybe how to pitch the idea, find that comparison, emphasize it's not the getting together that's important, it's the staying... or not.

I know the "rom" comes before the "com" in "romcom" but for me the laughs are 100x more important than the setup -- as long as it makes me smile and occasionally chuckle, and you describe the characters in funny or quirky terms that suggest where the conflict lies, I'm aboard, no need to sell me on anything else. Is it unreasonable to suggest that other people might feel the same way?

...If you're looking for a read, feel free to send me the first 20 pages. If I laugh out just loud once, I'll ask for the rest.

-Derek

ImagineAZ · Jan 30, 2008

Derek,

Well, there is a comparison to "Knocked Up," but at least that movie had the baby. Mine doesn't even have that. But I hope my combination is more believable, although unlikely. To me, the combination in "Knocked Up" was totally unrealistic.

But I was thinking that if I ever got a chance to pitch, I'd mention that one, along with the 4 I mentioned earlier.

Thank you for the reading offer. I've written the script twice, but the process was more of a learning experience. Now I'm ready to REALLY write it. I'm working on my final step outline right now.

I'm thinking of writing a short treatment that would include the real life situation that inspired the story. It would also include notes such as "Here is where I would have to inject the story/external conflict." Would you be willing to read something like that if I write it?

dpaterso · Jan 30, 2008

Sure, no problem. You know we've also got a Screenwriting critique forum in the private Share Your Work area if you want a wider spectrum of views.

-Derek

KELLY · Jan 30, 2008

Are the people in your script in love or are they falling in love?

Kelly

KELLY · Jan 30, 2008

I went to make lunch, and then needed to come back.

It seems to me that if you have two people in love then you can have conflict, but if they are falling in love they can't have a conflict.

Kelly

ImagineAZ · Jan 30, 2008

Kelly,

Actually, the two people are lifelong platonic friends. The script starts when they start to take the relationship to a new level.

KELLY · Jan 30, 2008

Then they must have some conflict. Day to day life leads to conflict. In your real life situation was their conflict? You did think that was funny.

I really love that you struggle with conflict in your script. I don't think they ever made a love story without a conflict in it.

I'll watch this thread to see what happens.

Kelly

ImagineAZ · Jan 30, 2008

Oh, there's definitely conflict, but it's all internal. There are no disapproving in-laws, no 3rd love interest, etc. The point I'm trying to get across is that the only obstacle to their getting together is their own personalities.

LIVIN · Jan 30, 2008

You say there's nothing external but you say:

ImagineAZ said:
And what makes this story funny (to me anyway) is the way the inner conflict plays out physically.

So it sounds to me like, in your mind, you have some sense of these externalizations. Which is all you need - external ways to bring out the internal conflict. These external ways don't necessarily need to be conflict.

ImagineAZ · Jan 30, 2008

LIVIN

I figured somebody would mention that hehe. The fact is that the inner issues cause some funny physical stuff to happen. In other words, there IS personal and extra-personal physical conflict, but they cause it themselves, just by being themselves. The conflict isn't caused by trying to fall in love while trying to escape from drug dealers, or while running from the law, etc.

ImagineAZ · Jan 30, 2008

LIVIN said:
You say there's nothing external but you say:

So it sounds to me like, in your mind, you have some sense of these externalizations. Which is all you need - external ways to bring out the internal conflict. These external ways don't necessarily need to be conflict.

Now, THAT answer is what I was hoping for. I was hoping that somebody would think that I could sustain a story like that

The Contemporary Romantic Comedy

ImagineAZ

NikeeGoddess

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Plot Device

A woman said to write like a man.

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Plot Device

A woman said to write like a man.

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dolores haze

international guttersnipe

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Flu

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KELLY

KELLY

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LIVIN

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