Romantic Screenplays 101 by Sally J. Walker Page B
Authors: Sally J. Walker
Tags: Romance, nonfiction, Reference, Writing, Writing; Research & Publishing Guides, Writing Skills
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Enemy Loved: Beloved Enemy, Lover, Hater
30. Ambition: Ambitious Person, Thing Coveted, Adversary
31. Conflict with (a) God: A Mortal, an Immortal or Principle
32. Mistaken Jealousy: Jealous, Object, Accomplice, Perpetrator
33. Erroneous Judgment: Mistaken One, Victim, Cause, Guilty
34. Remorse: Culprit, Victim or Sin, Interrogator
35. Recovery of Lost One: Seeker, One Found
36. Murder of Loved One: Slain Kinsman, Spectator, Executioner
“There are no new stories.”
So, how can Hollywood keep saying they want fresh stories? One element that you can give them: unique characters living those stories, responding to circumstances in heart-rending, courageous ways that take the reader / audience along on their adventure.
Remember, in romance the audience knows how the story will end. They want to go along on the ride of how the couple gets there!
Again, look over the analysis of AVATAR and THE LAST OF THE MOHICANS in Appendix D and apply the above concepts.
BEING UNIQUE
Producers like known entities that have been box office hits and at least earned out the investment of the production. However, they want fresh takes and are always looking for a trend-setter, not a copy cat script.
You avoid any trend in Hollywood by writing the story of your soul, one with a broader appeal. For example: Tweaking a limited appeal paranormal love story into a kick-ass credible action story that makes the hero and heroine stretch beyond the predictable. Broad-appeal spec scripts have a better chance of getting read and passed up the food chain. The key is to know exactly where your story concept is unique from everyone else’s and where it can stand toe-to-toe with other Action-Fantasy stories. Think of romance scenes from LORD OF THE RINGS.
That comparison-contrast is the reason to scan the http://www.IMDb.com website (Internet Movie Database) or subscribing to The Grid ( http://www.itsonthegrid.com ) to gather as much information as possible about other movies in production or even produced in the past in your theme area or that utilized any of the elements you incorporate into your script. This will give you the specific ammunition for your answer when somebody asks “Would you say this is similar in any way to TWILIGHT or any other vampire movie?” . . . OR “Are these fantasy threads like the fairy stuff in LORD OF THE RINGS or HARRY POTTER?” As the creator, you want to demonstrate that you understand the market, as well as your script. Knowledge of your genre is part of being a professional writer. Amateurs make assumptions or ignore; professionals are well-informed.
Let’s say you find the people who like the kind of stuff you write. All of the elements being given to you here will prepare you to discuss your movie and characters in the comparison-contrast game.
When doing your analysis think in details. The location, characterizations and roles of the characters are unique. Think whatever is different about your story, not in general terms. It’s a romance. The females dragging their males to this know it will end up in a successful commitment in the end. In the atmosphere of our modern culture, we know the female will be independent and no one’s doormat. Yadda, yadda. Yes, those are the generalities that are predictable . . . so what are the differences in your story? How is this genre of story different from TWILIGHT? How is your heroine different from other heroines? How is your story not melodramatic?
ROMANTIC SCREENPLAYS Chapter 7 Exercises
Exercise 7a: State your Time-and-Place factors specifically:
1) List the locations you will need to describe.
2) What props will be pertinent to this Time-Place?
3) Costuming considerations unique here?
Exercise 7b: Summarize research already done or make a list of topics you still need to research. (And, yes, authenticity is your job, especially in a spec script).
Exercise 7c: Write your Statement of Purpose. Look at your Log Line from
30. Ambition: Ambitious Person, Thing Coveted, Adversary
31. Conflict with (a) God: A Mortal, an Immortal or Principle
32. Mistaken Jealousy: Jealous, Object, Accomplice, Perpetrator
33. Erroneous Judgment: Mistaken One, Victim, Cause, Guilty
34. Remorse: Culprit, Victim or Sin, Interrogator
35. Recovery of Lost One: Seeker, One Found
36. Murder of Loved One: Slain Kinsman, Spectator, Executioner
“There are no new stories.”
So, how can Hollywood keep saying they want fresh stories? One element that you can give them: unique characters living those stories, responding to circumstances in heart-rending, courageous ways that take the reader / audience along on their adventure.
Remember, in romance the audience knows how the story will end. They want to go along on the ride of how the couple gets there!
Again, look over the analysis of AVATAR and THE LAST OF THE MOHICANS in Appendix D and apply the above concepts.
BEING UNIQUE
Producers like known entities that have been box office hits and at least earned out the investment of the production. However, they want fresh takes and are always looking for a trend-setter, not a copy cat script.
You avoid any trend in Hollywood by writing the story of your soul, one with a broader appeal. For example: Tweaking a limited appeal paranormal love story into a kick-ass credible action story that makes the hero and heroine stretch beyond the predictable. Broad-appeal spec scripts have a better chance of getting read and passed up the food chain. The key is to know exactly where your story concept is unique from everyone else’s and where it can stand toe-to-toe with other Action-Fantasy stories. Think of romance scenes from LORD OF THE RINGS.
That comparison-contrast is the reason to scan the http://www.IMDb.com website (Internet Movie Database) or subscribing to The Grid ( http://www.itsonthegrid.com ) to gather as much information as possible about other movies in production or even produced in the past in your theme area or that utilized any of the elements you incorporate into your script. This will give you the specific ammunition for your answer when somebody asks “Would you say this is similar in any way to TWILIGHT or any other vampire movie?” . . . OR “Are these fantasy threads like the fairy stuff in LORD OF THE RINGS or HARRY POTTER?” As the creator, you want to demonstrate that you understand the market, as well as your script. Knowledge of your genre is part of being a professional writer. Amateurs make assumptions or ignore; professionals are well-informed.
Let’s say you find the people who like the kind of stuff you write. All of the elements being given to you here will prepare you to discuss your movie and characters in the comparison-contrast game.
When doing your analysis think in details. The location, characterizations and roles of the characters are unique. Think whatever is different about your story, not in general terms. It’s a romance. The females dragging their males to this know it will end up in a successful commitment in the end. In the atmosphere of our modern culture, we know the female will be independent and no one’s doormat. Yadda, yadda. Yes, those are the generalities that are predictable . . . so what are the differences in your story? How is this genre of story different from TWILIGHT? How is your heroine different from other heroines? How is your story not melodramatic?
ROMANTIC SCREENPLAYS Chapter 7 Exercises
Exercise 7a: State your Time-and-Place factors specifically:
1) List the locations you will need to describe.
2) What props will be pertinent to this Time-Place?
3) Costuming considerations unique here?
Exercise 7b: Summarize research already done or make a list of topics you still need to research. (And, yes, authenticity is your job, especially in a spec script).
Exercise 7c: Write your Statement of Purpose. Look at your Log Line from
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