Romantic Screenplays 101 by Sally J. Walker
Authors: Sally J. Walker
Tags: Romance, nonfiction, Reference, Writing, Writing; Research & Publishing Guides, Writing Skills
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thinking about how you want their relationship to evolve, fantasize to the “nth” degree. You can always ratchet things back a bit in the revision process, but you owe it to yourself to have fun with the What-if’s on that first draft!
A MOVIE ANALYSIS
Appendix D gives you the analysis of the Action-Adventure/Fantasy Romance AVATAR. Though it was not James Cameron’s specific intent to write to the Relationship Plane and Signaling of a romance, he did it quite well. The second analysis is of the historical drama, THE LAST OF THE MOHICANS. James Fenimore Cooper’s Deerstalker series were essentially melodramatic novels of idealized characters. Michael Mann’s cinematic adaptation portrayed much more credible characters and circumstances.
ROMANTIC SCREENPLAYS Chapter 6 Exercises
Exercise 6a: Look back over your answers to Exercises 1b and 1c from Chapter 1. Which of these could you insert into the sexually tense scenes to complicate the relationship evolution and create natural challenges that must be overcome by the two characters? Do these feel contrived or logical to you?
Exercise 6b: From Chapter 3’s 3b and the Relationship Plane. How have you woven these into the pacing of your envisioned romance? Have you got a What-if list of other possibilities?
Exercise 6c: From Chapter 5’s Exercise 5d, where do these two actually recognize they are courting and want “Forever”? Do you intend to write a specific seduction scene and, if so, where do you think it will satisfy the audience quest? Will it be predictable or surprise even the two characters? Note: Do not rush or summarize what the audience wants to experience and pay attention to the signpost events as pivotal changes in what is demanded of the characters.
Exercise 6d: From chapter 3’s Exercise 3d, do you still see this as the appropriate Climax and Commitment for your story?
Exercise 6e: Make a Fantasy List of what you would like to see happen between these two. Now, pick one or two things that you can use in the script.
Chapter 7
Considerations:
Time-Place and Theme
FUNDAMENTALS OF TIME-PLACE AND ROMANTIC THEME
Two concepts need to be carefully considered when in the planning stage of a romantic screenplay, whether it is intended to be sweet inference or erotically sensual. These key concepts will dictate the story setting and the thrust of the story. Here are their definitions:
Story Time-Place : The where and when of a story stages or frames the characters and their plot with reader / audience immediately thinking about the environment.
Romantic Theme : The classification of the kind of relationship story also stages the characters and their plot providing another reader / audience expectation element.
Both of these concepts have been the fodder for many critics of the romance genre, yet they continue to attract an avid audience. They do suggest some predictability. On the other hand, they also challenge the writer to reveal unique and fresh circumstances within those parameters. It is that challenge to tweak and twist predictability that gives a romance writer a smug smile when discussing the topic with literary or cinematic elitists.
Setting’s Time-Place Consideration
A common division of romantic stories is:
1. Contemporary: Occurs within past 20 years up until present
2. Historical: Within documented past events
3. Regional: Specific to a particular place, country, culture
4. Western: Setting in frontier, frequently Old West
5. Medieval: Middle Ages feudal period with castles, knights, serfs
6. Regency: Early 1800’s England and Europe
7. Scottish: Scotland & Scots from ancient times to present
8. Paranormal: Ghost/Vampire/Werewolf/Time-Travel
9. Futuristic: Sci-Fi/Fantasy quality of future projection
Obviously, your descriptions of place, props and costuming, the mores and values of your characters, dialogue and characterization back story will all
A MOVIE ANALYSIS
Appendix D gives you the analysis of the Action-Adventure/Fantasy Romance AVATAR. Though it was not James Cameron’s specific intent to write to the Relationship Plane and Signaling of a romance, he did it quite well. The second analysis is of the historical drama, THE LAST OF THE MOHICANS. James Fenimore Cooper’s Deerstalker series were essentially melodramatic novels of idealized characters. Michael Mann’s cinematic adaptation portrayed much more credible characters and circumstances.
ROMANTIC SCREENPLAYS Chapter 6 Exercises
Exercise 6a: Look back over your answers to Exercises 1b and 1c from Chapter 1. Which of these could you insert into the sexually tense scenes to complicate the relationship evolution and create natural challenges that must be overcome by the two characters? Do these feel contrived or logical to you?
Exercise 6b: From Chapter 3’s 3b and the Relationship Plane. How have you woven these into the pacing of your envisioned romance? Have you got a What-if list of other possibilities?
Exercise 6c: From Chapter 5’s Exercise 5d, where do these two actually recognize they are courting and want “Forever”? Do you intend to write a specific seduction scene and, if so, where do you think it will satisfy the audience quest? Will it be predictable or surprise even the two characters? Note: Do not rush or summarize what the audience wants to experience and pay attention to the signpost events as pivotal changes in what is demanded of the characters.
Exercise 6d: From chapter 3’s Exercise 3d, do you still see this as the appropriate Climax and Commitment for your story?
Exercise 6e: Make a Fantasy List of what you would like to see happen between these two. Now, pick one or two things that you can use in the script.
Chapter 7
Considerations:
Time-Place and Theme
FUNDAMENTALS OF TIME-PLACE AND ROMANTIC THEME
Two concepts need to be carefully considered when in the planning stage of a romantic screenplay, whether it is intended to be sweet inference or erotically sensual. These key concepts will dictate the story setting and the thrust of the story. Here are their definitions:
Story Time-Place : The where and when of a story stages or frames the characters and their plot with reader / audience immediately thinking about the environment.
Romantic Theme : The classification of the kind of relationship story also stages the characters and their plot providing another reader / audience expectation element.
Both of these concepts have been the fodder for many critics of the romance genre, yet they continue to attract an avid audience. They do suggest some predictability. On the other hand, they also challenge the writer to reveal unique and fresh circumstances within those parameters. It is that challenge to tweak and twist predictability that gives a romance writer a smug smile when discussing the topic with literary or cinematic elitists.
Setting’s Time-Place Consideration
A common division of romantic stories is:
1. Contemporary: Occurs within past 20 years up until present
2. Historical: Within documented past events
3. Regional: Specific to a particular place, country, culture
4. Western: Setting in frontier, frequently Old West
5. Medieval: Middle Ages feudal period with castles, knights, serfs
6. Regency: Early 1800’s England and Europe
7. Scottish: Scotland & Scots from ancient times to present
8. Paranormal: Ghost/Vampire/Werewolf/Time-Travel
9. Futuristic: Sci-Fi/Fantasy quality of future projection
Obviously, your descriptions of place, props and costuming, the mores and values of your characters, dialogue and characterization back story will all
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