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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." You'll learn the screenwriting secrets behind some of the funniest scenes ever written; how to create characters and dialogue that set the sparks flying; why some bedroom scenes sizzle and others fall flat; and much more. 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.

• Sales Rank: #141534 in Books
• Published on: 2001-07-31
• Released on: 2001-07-31
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .68" w x 5.31" l, .49 pounds
• Binding: Paperback
• 304 pages

Amazon.com Review
According to Billy Mernit, all the Hollywood studios--and most major actors--"are actively seeking romantic comedies." But the same studios and actors reject hundreds of romantic comedies a month. Mernit should know. As a story analyst who has read nearly 4,000 screenplays in the last 10 years, Mernit has seen the good, yes, but also too much of the bad and the ugly. With Writing the Romantic Comedy, Mernit presents his UCLA Extension rom-com writing workshop in book form. 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." Mernit manages to lay down ground rules without seeming rigid: "he can't be in it only for the sex"; "she can't be in it only for the money"; "at least one scene or sequence [should be] laugh-out-loud funny." Mernit offers five ways to bring your characters to life and seven basic romantic comedy "beats." He has chapters on chemistry, humor, dialogue, and sex ("in romantic comedy, there's nothing sexier than sublimated sex"), and he draws generously upon the surprisingly small canon of great romantic comedies to demonstrate his points. Finally, given that the conflicts in romantic comedies are internal, you needn't look far for inspiration when you feel stuck. "Think of one of the most painful, humiliating, embarrassing things that ever happened to you with someone of the opposite sex," he says, and go from there. --Jane Steinberg

Review
"Writing the Romantic Comedy is so much fun to read it could pop a champagne cork." -- -- Alexa Junge, writer/producer of Friends

About the Author
Billy Mernit teaches "Writing the Romantic Comedy" and four other courses at the UCLA Extension Writers' Program. 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. With his wife, Claudia Nizza, he is the coauthor of That's How Much I Love You.

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4 of 4 people found the following review helpful.
Terrific
By Joseph Oppenheim
A terrific book to learn how to write a romantic comedy screenplay. Things worth noting from it are....

1. 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.

2. 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.

3. Sub-genres -ensemble, marital, triangle, cross-genre hybrid. Includes history of rom-coms.

4. 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. The other man/woman, the buddy. Couple must have chemistry, interlocking needs, misfits who fit only each other.

5. 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. Test every character, image, storyline, against axiom/theme. Jokes rooted in truth are best.

6. 7 rom-com beats-setup/beg act 1, cute meet/mid act 1, turning point/end act 1, the hook/mid act 2, swivel second turning point/end act 2, crisis/mid act 3, resolution/end act 3.

7. Tell simple stories with complicated emotions. Keep it credible. A plausible world. Have sensibility and consistency, set rules in story and follow them. Setup/payoff -if a gun at start, must go off later.

8. 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.

9. 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. threes, leave no good gag untopped.

10. Sex - implicit best, foreplay, people don't shed character and personality in bed, plot doesn't stop. Aftermath - intimacy, heighten conflict, revelation raises stakes, rom-com can't be just about sex.

11. Dialog - answer what happens next, moves plot forward, reveals the past,, reveals characters, defines tone/world, reveals theme subtly, creates tension/suspense, avoid conflict. Should do more than one thing at a time. Less is more, come in late as possible, leave as soon as possible, inference, intimation, innuendo, what isn't said sometimes better than what is said, characters must have emotional clarity.

12. Imagery - think in pictures.

13. First drafts - have the courage to be bad, test ideas, are for finding what you are writing about and what your problems are.

14. Craft enhancers - specificity/the right word, invention,compression, intensity, integrity.

15. Writing is re-writing. Keep file of deleted stuff.

16. Feedback - three people,give specific focus like what do you think of John and Mary, don't defend just listen

17. Reader-friendly form -first 10 pages establish genre, tone, protagonist, some main plot. Turnoffs - useless info, chatter, hype, clutter.

A very helpful book.

1 of 1 people found the following review helpful.
I bought this book to help me develop the romantic ...
By Julia Lednicky
I bought this book to help me develop the romantic subplot in my romantic mystery adventure series, TAKE BACK TEXAS. It was extremely helpful in explaining the arc of the romance element and in giving examples so that I could improve my work. I will continue to refer back to this book as a resource as I write more books in the series. Extremely insightful!

0 of 0 people found the following review helpful.
Something here for the screenwriter and book author
By V. WELCH
He describes the book himself as "a complete romantic comedy screenwriting workshop in one book" (p. x), and so it is. So while the author can be funny, don't expect this to be a light read. It is packed with hard information. I suggest you read one chapter and then stop to digest the material before ingesting the next. That's what I had to do to avoid information overload.

But it's useful stuff. Before you pick up a comedy writing instructional manual, you think you sort of know what's funny, and of course, you're right. But Mernit explains why we laugh, and knowing this can improve your writing. In 13 chapters in four sections he discusses storytelling fundamentals, character development, the art of being funny, dialogue, credibility, conflict, and more. He takes being funny very seriously, and so should you if you intend to write comedy--books or movies--for a living. I learned a few valuable tips about character development that I plan to incorporate into my next novel. Thank you, Mr. Mernit.

The author is/was an instructor affiliated with UCLA Extension Writers' Program, so understandably the book reads a bit like a textbook: it is instructional, comprehensive, and contains writing exercises. The book is aimed at screenwriters, not book writers, so he frequently uses romantic comedy movies, contemporary and vintage, to illustrate a teaching point. It's embarrassing, but there is a wide and dismal 30-year hole in my inventory of popular films, so his illustrations were often wasted on me. But I am the exception, so that shouldn't be a problem with most readers. The good news is that everything he teaches applies equally to authors of romantic comedy books and screenwriters. There's something here for both camps.

The 286-page book contains relevant lists (noteworthy and top-grossing films, etc.), a bibliography, and an index.

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It is well recognized that those who go through a major trauma can go on to experience psychological problems. Many seek psychological help and there is a now a range of psychotherapies specifically for those who have been through trauma.

In this authoritative book John Marzillier describes and reviews the various forms of trauma therapy, examining what the therapies consist of, their research basis, their similarities and differences, and what they tell us about trauma and its effects. Designed specifically for therapists, and engagingly written, the book ranges from established therapies such as prolonged exposure, EMDR and imaginal reliving to newer developments such as mindfulness meditation, compassionate-focused therapy and energy psychology techniques. Aware that therapy is more than a collection of techniques, Marzillier discusses the nature of psychological trauma, the therapeutic relationship and what psychotherapy can offer. The domination of a quasi-medical model, notably in terms of PTSD, and of evidence-based psychotherapy has led to a misleadingly simplistic notion that effective trauma therapies are those based exposure. This book does much to dispel this notion.

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• Sales Rank: #2330122 in Books
• Published on: 2014-09-03
• Released on: 2014-09-03
• Original language: English
• Number of items: 1
• Dimensions: 5.90" h x .70" w x 9.10" l, .0 pounds
• Binding: Paperback
• 320 pages

Review
The book is very well written and engaging. It explores complex ideas in a way that makes them accessible to most practitioners and opens up new possibilities and theories, making it essential reading for anyone working with trauma. Therapy Today

About the Author

John Marzillier, Clinical Psychologist,

John Marzillier is a clinical psychologist and writer living in Oxford. He has a MA in Psychology & Philosophy for the University of Oxford, a MSc (Clinical Psychology) and a PhD (Psychology) from the University of London, and an MA in Creative Writing from Bath Spa University College. He had a long career as an academic clinical psychologist and as a psychotherapist, having been trained in behavioural, cognitive and psychodynamic therapies. He has written extensively about psychology and psychotherapy. In 2010 he published The Gossamer Thread. My Life as a Psychotherapist, which was short-listed for the Mind Book of the Year. In 2012 he published To Hell and Back. Personal Experiences of Trauma and How We Recover and Move On, based on his interviews with trauma sufferers. John has worked extensively in the trauma field as a therapist, as an expert in medico-legal work, and for the Thames Valley Police as their staff psychologist.

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• Sales Rank: #924276 in Books
• Brand: Brand: Emc Pub
• Published on: 2006-03-31
• Ingredients: Example Ingredients
• Original language: French
• Number of items: 1
• Binding: Hardcover
• 492 pages

Features

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An innovator in contemporary thought on economic and political development looks here at decline rather than growth. Albert O. Hirschman makes a basic distinction between alternative ways of reacting to deterioration in business firms and, in general, to dissatisfaction with organizations: one, “exit,” is for the member to quit the organization or for the customer to switch to the competing product, and the other, “voice,” is for members or customers to agitate and exert influence for change “from within.” The efficiency of the competitive mechanism, with its total reliance on exit, is questioned for certain important situations. As exit often undercuts voice while being unable to counteract decline, loyalty is seen in the function of retarding exit and of permitting voice to play its proper role. The interplay of the three concepts turns out to illuminate a wide range of economic, social, and political phenomena. As the author states in the preface, “having found my own unifying way of looking at issues as diverse as competition and the two-party system, divorce and the American character, black power and the failure of ‘unhappy’ top officials to resign over Vietnam, I decided to let myself go a little.”

• Sales Rank: #38621 in Books
• Brand: Brand: Harvard University Press
• Published on: 1970
• Released on: 1970-01-31
• Original language: English
• Number of items: 1
• Dimensions: .49" h x 5.26" w x 8.26" l, .44 pounds
• Binding: Paperback
• 176 pages

Features

• Used Book in Good Condition

Review
Hirschman's work changes how you see the world. It illuminates yesterday, today, and tomorrow...His most important [book]. (Cass R. Sunstein New York Review of Books 2013-05-23)

A 126-page burst of lucidity...[Hirschman's] masterwork. (Roger Lowenstein Wall Street Journal 2013-03-22)

One of the masterpieces of contemporary political thought. (Malcolm Gladwell New Yorker 2012-07-30)

This unusual and subtle book is...an exercise in interdisciplinary analysis focused on the interaction between market and non-market forces affecting the process of development and decline... Professor Hirschman develops a theory of loyalty as a key factor in the interaction between voice and exit: loyalty is shown to postpone exit and to make voice more effective through the possibility of exit. (The Economic Journal)

This is an imaginative little book. Its message should be of use to economists, political scientists, and all those interested in policy questions related to these areas. Hirschman starts his argument by assuming that in time all organizations (firms, bureaus, political parties, governments, and so on) develop slack and experience a deterioration in the quality of their output. The clients of a declining organization have two options for reversing this trend: exit and voice. And much of the book is devoted to an explication of the ways in which these options operate, their relative advantages and weaknesses, the interdependence between them... It is in these discussions of current problems and institutions, however, that I find the book most rewarding. His basic point, that there exists a symbiosis between exit and voice, is certainly valid and significant. Its importance gets driven home by the way Hirschman applies the idea to various current issues. One emerges from the book feeling he has obtained a new analytic insight into policy questions which can be applied again and again. (Dennis C. Mueller Public Policy)

Professor Hirschman's small book is bursting with new ideas. The economist has typically assumed that dissatisfaction with an organization's product is met by withdrawal of demand, while the political scientist thinks rather of the protests possible within the organization. Hirschman argues that both processes are at work and demonstrates beautifully by analysis and example that their interaction has surprising implications, a theory that illuminates strikingly many important economic and political phenomena of the day. The whole argument is developed with an extraordinary richness of reference to many societies and cultures. (Kenneth J. Arrow)

This is a marvelously perceptive essay which illuminates some of the most interesting economic and social questions of our time. I have read it with enormous interest and admiration, and the further pleasure that one has in being with an author who can think things through. (John Kenneth Galbraith)

There is, of course, no substitute for a mind as original, playful, subtle, and fresh as Hirschman's. (Stanley Hoffmann)

I read Exit, Voice, and Loyalty with absolute fascination and found that it pulled together, in organized form, many random glimmerings that I had previously understood only dimly. (Joseph Kraft)

About the Author
Albert O. Hirschman was Professor of Social Science, Emeritus, at the Institute for Advanced Study in Princeton, following a career of prestigious appointments, honors, and awards. Perhaps the most widely known and admired of his many books are Exit, Voice, and Loyalty (Harvard) and The Passions and the Interests (Princeton).

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74 of 79 people found the following review helpful.
A fresh view at market liberalism
By robert kissack
Albert Hirschman's Exit, Voice and Loyality is a book written by an economist but accessible to all - a rare achieve in any academic disipline, especially economics. The book was written in the early 70's but still has relevant today. Its greatest achievment is the illumination of 'exit' as the mentality of modern western capitalist societies - the idealisation of the consumers' right to 'vote with one's feet' - and its spread into all forms of social activity. Hirschman adds a historical dimension to this by arguing that the whole of the United States has largely been built on 'exit' mentality - from the mass migration out of Europe from the 17th century onwards to the calls to 'go west' across the plains. Exit is the strategy advocated today by neo liberals as being the manifestation of democracy in the market sphere. Hirschman's observations were made in the early 70's, yet their relevance as an internal critique of the free market is perhaps even more important today in the post-cold war era when the traditional critiques of the capitalism (such as Marxism in its Communism manifestation) have so clearly failed. As liberals try to grasp the future - while opponents of liberalism turn their attention from Marx to Nietzsche (such as John Gray), Hirschman's Exit Voice and Loyalty is an accessible, refreshing and insightful look at market liberalism from within, and is therefore throughly recommended.

41 of 44 people found the following review helpful.
Snapping the firm back to efficiency
By Matthew P. Arsenault
Hirschman argues that rather than operating at permanently optimal level - seeking profit maximization - firms often operate at a merely "satisfactory" level. Hirschman argues that this level of inefficiency leads to "organizational slack" in the firm. In times of strong competition, firms can draw upon this slack in order to squeeze out greater production through an investment in work hours, improved productivity, and other forms of pressure. When competition is not so fierce, firms are subject to a certain level of decline and subsequently become inefficient, i.e. they experience declining quality, high prices, etc. When firms are underperforming in this manner, customers have two options to correct this inefficiency: exit and voice. Both exit and voice are used by consumers in order to snap a firm back into efficiency. When selecting exit, customers leave the underperforming firm in favor of an alternative. When using voice, customers voice their concern directly to the firm or its managers. These two options are not mutually exclusive and may be used in tandem.

Exit represents the economic side of recuperation mechanisms and often results from a decline in quality. When quality drops, customers exit and the firm's revenues fall. When management becomes aware of customer desertion, it must take an active role in repairing the damage to the firm. However, the level of response varies with the level of exit. A small number of exiting customers is unlikely to lead to corrective action by management, because the damage caused by the exit is not significant to serve as an incentive for change. The same can be said about a high number of exiting customers. If the damage is too great, no recuperation measures will be pursued as the damage is too great to recover from. However, if an intermediate number of customers exit, the management will pursue actions which may lead to a full recovery. This illustrates the need for both inert and alert customers in order for exit to work. Alert customers leave and thus provide the firm with feedback, while the inert customers grant the firm time to adjust and change. However, it must be noted that exit does not always lead to efficiency. When goods are not readily substitutable, or a decline in quality occurs across a sector, exit will not work. Those who exit will be shuffling from firm to firm across a sector. For every customer lost, the firm will simply gain a customer from a competing firm.

Voice represents the political side of the recuperation mechanisms. It can be used as either a supplement or alternative to exit. The effectiveness of voice is positively related to its volume, but, like exit, it can be overdone. Like exit, a mixture of both inert and alert customers is necessary for the voice option to work. People will hold their political capital in reserve and bring a great weight to bear on the firm when they deem it necessary. However, the elites still must be allowed to make decisions. It must be noted that voice often serves in a residual role to the exit strategy. The voice option is often the only way a customer or members of a group can react when the exit option is unavailable, i.e. in churches, families, or the state. As such, "The actual level of voice feeds on inelastic demand, or on the lack of opportunity to exit" (Hirschman, 1970, p. 34). In such a case, voice carries the entire burden. However, in such cases where customers feel that voice will serve as an effective recuperation mechanism, the will postpone exit. This is true in that once a person has exited a firm, they have lost the power of voice, but not vice versa. Customers will prefer the voice option to exit when; 1. they assume the firm will return to its original superiority over substitutable alternatives; 2. they want to "do something" to change the quality, i.e. to exert influence; 2. they expect their own influence, coupled with that of others to create changes; 4. they have developed loyalty to the firm. In sum, the voice option works in markets with a limited number of buyers. Here, a group of buyers are able to influence the management of the firm. Such a trait is most often found in organizations as opposed to business firms. Additionally, we are most likely to see the voice option used when the buyer is stuck with, and dissatisfied with a product from which the customer can not readily exit.

With the Exit and Voice framework established, Hirschman seeks to use the paradigm to explain a number of social phenomena. For example, Hirschman argues that "the consumer who is rather insensitive to price-increases is often likely to be highly sensitive to quality declines" (1970, p. 49). These consumers tend to be better off as they can afford changes in price. In short, if price increases but quality remains the same, the customer is likely to stay. However, if quality declines and price remains the same, these consumers will exit in favor of a higher quality, but perhaps more expensive substitutable good. As such, Hirschman hypothesizes that customers are more likely to resort to protest in regards to declining quality in high-quality goods than they are with medium of low-quality goods. Hirschman uses this hypothesis to explain the differences between upper and lower class cleavages: "the role of voice in fending off deterioration is particularly important for a number of essential services larges defining `quality of life.' Since in the case of these services, resistance to deterioration requires voice, and since voice will be more forthcoming more readily at the upper than the lower quality ranges, the cleavage between the quality of life at the top and at the middle or lower ranges tend to be more marked" (1970, p. 53).

Additionally, Hirschman uses the Exit and Voice paradigm to examine monopolies, arguing that sometimes, a tight monopoly is better than a system of competition. He argues that a no-exit situation will be better than a system of competition under two circumstances; 1. "exit is ineffective as a recuperation mechanism, but does not succeed in draining from the firm or organization its more quality-conscious, alert and potentially activist members"; and 2. "if voice could be made into an effective mechanism once these customers or members are securely locked in" (1970, p. 55). This implies that in a tight monopoly, voice still holds some power. In a loose monopoly, where some competition still exists, a company is willing to loose those loud people who will choose to exit, thus ensuring that the firm will not pursue a move towards returned efficiency.

Hirschman also examines the role of Exit and Voice on the two-party system. Changes in quality are interpreted differently by different people. For example, in political parties, a move towards the center will anger those in the extreme polls. Hirschman writes that the firm will tend to minimize the discontent of its customers to reduce hostility in the environment in which it operates. This implies that the market will "clear" somewhere in the middle of the two discount levels. Hirschman argues that those voters who are near the middle of the spectrum are non-captive voters, meaning that they retain the power of exit. They may defect to the other party. Those on the extreme polls, however, do not have the exit option as they are too distant from the other rival party. Hirschman refers to those in the fringes as captive voters. As such, in a dual-party system, it pays for the party to mover towards the center in the hopes of maintaining the non-captive voters, knowing that the fringe voters are relatively stuck with the situation.

The main value of Hirschman's Exit and Voice framework is that is can be applied to a host of social science phenomena. Although written nearly forty years ago, scholars still take the Exit and Voice model when explaining other social problems.

0 of 0 people found the following review helpful.
Five Stars
By GMC
Fine condition, thank you.

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