1. Best Romantic Comedy Movies

Contrived MeetingThe first time the main characters get together is usually in a contrived and overly comic situation. The meeting usually occurs within the first 10 to 20 minutes of a film. A common and funny technique to introduce the characters to each other includes a case of mistaken identity, as in 'What's Up Doc?' Another contrived meeting is the 'strange accident,' as in 'While You Were Sleeping.'

Polar OppositesA couple in a romantic comedy will have different personal viewpoints, an unequal social status or a cultural conflict. They are characters who would not ordinarily meet, much less stay together. One character may be more sympathetic, usually an underdog figure from a humble background, while the other character may have a privileged life.

A few of these movies include 'Maid in Manhattan' and 'The Proposal.' Regardless of the differences, the rules of the romantic comedy require they find some reason to stay in each other's lives.

Ordinary ProblemTraditionally, a romantic comedy deals with a simple problem that the audience easily understands. Everyday type of dilemmas, such as getting a new boyfriend, finding a job, starting a business or passing an important test all present an increasing comic challenge. As the characters work out their problem, they encounter each other repeatedly and fall in love.

The crucial point occurs when they run into an unexpected problem, such as a controlling parent, or a hurtful secret is revealed. This usually leads to a break-up or an unexpected delay in plans.

Comic FriendsEach main character has a supportive 'friend.' This character, which can be a relative, usually serve as the comic relief. Their main role in the story is to advise, lend moral support to, and even protect the main characters. This character is usually an unmarried co-worker, like Joan Cusack's character Cyn in 'Working Girl,' a high school buddy, or a sibling. Happy EndingRomantic comedies must have a happy ending. One character changes his belief, viewpoint or embraces something about the other character.

They overcome the conflict that kept them apart, fall in love all over again, and give the story a simple, satisfying conclusion. Some famous ROM coms that followed these steps include 'Sleepless in Seattle,' 'Pretty Woman' and 'When Harry Met Sally.'

The Story Structure Countdown: How Different ‘Experts’ Say You Should Structure a StoryThe Story Structure CountdownLots of people have come up with lots of ways to map, chart, categorize, name and formulate story patterns and structures. (also see for a graphic side-by-side exploration) – and if you like this, it’s just the tip of the iceberg of writer’s resources in (reference e-book available now on Amazon).Some of these structures are obviously and/or explicitly derived from others and some feature similar story beats with different names, but I find they all have something to offer – at least conceptually.I’ve never personally been able to directly apply any one of these to any of my own writing projects or to any clients’ work. I’ve found that all but the most formulaic writing projects have their own unique structure which has to be discovered during the creative process.or to discuss your particulars.There’s no magic formula that works for every project every time. You can always find examples of successful projects that don’t fit a given formula or find ways successful projects do fit a particular structure if you want to. Also, most of the people who name and formulated these concepts are not primarily writers per se and in most cases their structures are based on post-facto analysis of successful work rather than being used to generate the original work itself.

Best Romantic Comedy Movies

But, even (or especially) if you’re trying to satirize a form or break a mold, you should know what the mold is.Naturally, any serious discussion of moldy story structure has to start with. ABSENTATION: A member of a family leaves the security of the home environment. This may be the hero or some other member of the family that the hero will later need to rescue.

This division of the cohesive family injects initial tension into the storyline. The hero may also be introduced here, often being shown as an ordinary person. INTERDICTION: An interdiction is addressed to the hero (‘don’t go there’, ‘don’t do this’).

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The hero is warned against some action (given an ‘interdiction’). VIOLATION of INTERDICTION. The interdiction is violated (villain enters the tale). This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away. RECONNAISSANCE: The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc.; or intended victim questions the villain).

The villain (often in disguise) makes an active attempt at seeking information, for example searching for something valuable or trying to actively capture someone. They may speak with a member of the family who innocently divulges information. They may also seek to meet the hero, perhaps knowing already the hero is special in some way. DELIVERY: The villain gains information about the victim. The villain’s seeking now pays off and he or she now acquires some form of information, often about the hero or victim. Other information can be gained, for example about a map or treasure location. TRICKERY: The villain attempts to deceive the victim to take possession of victim or victim’s belongings (trickery; villain disguised, tries to win confidence of victim).

The villain now presses further, often using the information gained in seeking to deceive the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something or persuading them that the villain is actually a friend and thereby gaining collaboration. COMPLICITY: Victim taken in by deception, unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain. You should check out The StoryAlity(TM) Screenplay Syntagm:It’s based on the idea that there is a definite time/page-based sequence to high ROI screenplays and it matches the Fibonacci Sequence.

It’s a bit ‘out there’ but worth a read.Also, for beginners, I usually point them to Jeffrey Alan Schecter’s ‘My Story Can Beat Up Your Story’ which has a simple outline, broken into acts 1/2/3, you can use for story structure laid out against Star Wars as an example. Like all of them, take it with a pinch of salt, but if you’re new to screenwriting it’s easy to understand and work with. Incidentally it’s also the basis for the software Contour, by Mariner. Hi Greg – thanks for your reply.There is a computer program intended to streamline things (TBH it’s clunky as hell and very dated), but Dramatica is first and foremost a structure theory like the others on this page. Granted, there are some IFTHEN bits, which I suppose makes it an algorithm of sorts. But they’re still more the sort of decisions you could make scribbling on the back of a cigarette packet than the sort that require a supercomputer. Having said that, I’ve read the Dramatica book cover to cover several times and just come away with a headache!

I instinctively feel it has very important things to say, my brain’s just not up to it – or at least isn’t on Phillips & Huntley’s wavelength!I’ve not read Truby’s book, so can’t comment Dramatica’s similarities, but if 22 Steps is a minor variation on Campbell then he’s on a hiding to nothing IMO, as Dramatica is anything but that. (e.g., It seems to have way, WAY more to say about complementary character functions.)Incidentally, Dramatica was, AFAIK, conceived in the early 1990s, about fifteen years before Truby published his 22 Steps. Not necessarily a legal clincher, I admit, but while the jury’s out I’d still say Dramatica deserves attention.Thanks again for a great post. Wow, I missed this post on my first read through. Let me put a couple of things straight.First, Truby is not suing us as far as I know, nor have we ever been sued for anything in our 32 year history.Second, Dramatica is a narrative theory, a book based on the theory, and a line of software products incorporating many key aspects of the theory, all in the public sphere since 1994. The software is unique in that it has a non-data driven story engine that embodies the human problem-solving process, which just happens to be reflected in the underlying structure of most narratives.

All I had was a phone call from someone saying they were from Truby’s office and telling me to take down any of his ‘proprietary’ story steps or there could be legal action. She said that Truby’s publisher was being especially aggressive despite the fact that his steps are readily available elsewhere online, that I was posting the information in a journalistic/academic context (and they’re clearly derived from Campbell’s journey monomyth anyway). I took it down because I didn’t want to get into it with them.

You journal on, Chris. I’ve found on Write Brothers website the following comment on Dramatica Story Expert 5, under System Requirements tab:“Dramatica Story Expert for Windows is in the works and we’ll announce its availability as soon as it is ready for prime time.”So, it looks likes it will eventually be released for Windows also. When I wouldn’t know though.I’d like to point out that even though Dramatica Pro v.4 for Windows is indeed old, it still works fine.

I’ve seen it running on a Windows 8.1 machine, without any problems (and I’m speaking of the first CD edition!). It seems that the only precaution in installing it would be to choose a folder other than the standard Program folders (a new folder in the root, or a secondary partition would do).

Also, Windows CHM help files will require MS Help to be installed to.Surely, the Story Expert version is cute, with better graphics and all. Still, if you’re just focused on writing, Dramatica Pro 4 still works its magic, and quite fine. The setup folder is less than 9 MBs, and system requirements are really tiny, so any modern computer, even a small netbook will make it run light fast and with more ram than it needs.Icons and GUI surely look old But it works. Which is better than nothing.I’ve seen Dramatica being used, and used it myself quite a few times, and it always fascinated me.

I’ve also bought and read the Dramatica Theory book and read it over many times. Even though I am not a writer, I love reading and studying how novels and fictions work. My opinion is that Dramatica makes a lot of sense, and it does apply to any well formed story.The book is more than enough to understand Dramatica, and even if you don’t stick to it 100% it still broadens your mind when it comes to story writing.The software is a great tool to help you plot out and revise your novel so that nothing is left out. It allows to keep track of hundred of elements which would otherwise be difficult by hand.I know that many people get upset by such statements, because they think that “creativity can’t be pinned down in a formula”.

But this is not what Dramatica claims to do at all. Dramatica (as a theory and software tool) is all about handling stories from multiple perspectives, and offering a full view of the problems (conflicts) to the reader through 4 storylines (which are not to be mistaken with narrative points of view). Its not a prison cache impeding freedom of expression, nor it outputs a blueprint script to follow by filling the blanks—not at all!Its more an aid, a reminder, a brainstormer, and a tutor.

But it doesn’t pretend to replace skill and creativity.And yes, I think Dramatica deserves mentioning on any web page that reviews tools for fiction writers. Reblogged this on and commented:This article about story structure stuck with me a while; when used with the Writer’s Journey by Chris Vogler and Michael Hauge’s story stucture this makes a “spicy and meatier” stew. This article is a good supplement to Vogler and Hauge. Also check out a site called and the free film school. I got the DVD set and the workbook by Sherri Sheridan. I have two other story structure authors I’ll mention in my blog.

These five story artists/crafters are screen writers and authors. It doesn’t matter. I wish someone made this clear when I started out–learn all the elelments of a story and then tell/write the story in whatever format screenplay or novel or graphic novel. Learn story first!