Rating: 
Summary: A great book for all writers
Review: If you can attend one of Mr. Mernit's classes, do. But if you can't, the book is a very good substitute.The reason this book is so good is the author approaches script writing from a professional reader's perspective, and a historical perspective. His passion for the genre is clear. He not only knows and shares the roots of romantic comedy, he discusses the common elements af all successful movies in the genre. This book is invaluable for someone working in this genre, but it's also relevant for all aspiring (or actively working) screenwriters. Don't be afraid to get this book if you are working in another genre. He shares insights that are relevant to all genres. In short, this is a great book written not by an aspiring writer or someone that makes a living by only teaching, but by someone actually in the movie business that knows what works.
Rating:
Summary: A great book for all writers
Review: If you can attend one of Mr. Mernit's classes, do. But if you can't, the book is a very good substitute. The reason this book is so good is the author approaches script writing from a professional reader's perspective, and a historical perspective. His passion for the genre is clear. He not only knows and shares the roots of romantic comedy, he discusses the common elements af all successful movies in the genre. This book is invaluable for someone working in this genre, but it's also relevant for all aspiring (or actively working) screenwriters. Don't be afraid to get this book if you are working in another genre. He shares insights that are relevant to all genres. In short, this is a great book written not by an aspiring writer or someone that makes a living by only teaching, but by someone actually in the movie business that knows what works.
Rating:
Summary: One of the better Screenwriting books
Review: This book was a very pleasant surprise. First, it's really the only current book of its type to focus on the romantic comedy genre. Second, it doesn't neglect screenwriting in general, yet at the same time does not overdue the details of general screenwriting, which can be had in other books. Third, he's a good writer and knows how to keep the material moving. Fourth, mixed in with everything else are excellent in-depth analyses of top romantic comedies. I found his analysis of Tootsie especially good. It prompted me to take out the movie and see it again but with new eyes. Fifth, there's really a lot more in this book than I can write about in this small space, but I particularly gained from his chapters entitled "The Art of Funny" and "Being Sexy." My one complaint is that I was not too sold on his seven part structure which all romantic comedies can be broken down into supposedly. Perhaps he's correct, but formulaic approaches just irk me. Maybe one day I'll feel differently. Overall, though, this is an excellent book, delivering what it promises, and worthwhile to have around for rereadings in part or whole.
Rating:
Summary: This Book Rocks.
Review: When I was stumped on a script I was writing, I read it, and it was fantastic. It's just so refreshing to read a screenwriting how-to book that goes beyond the simple structure of storytelling to actually give you detailed examples of why certain things work and others don't. I've always been more of a theoretical than technical thinker, and I would highly recommend this to writers who feel like they respond better to examples than to lesson plans and directions.
Rating:
Summary: The book Nora Ephron doesn't want us to read....
Review: Writing the Romantic Comedy takes out the mystery of the craft of writing screenplays like Shakespeare in Love and Notting Hill. Billy Mernit - the author - explains the workings of the romantic comedy and how would-be writers like myself can produce screenplays that will sell. Mernit defines the seven fundamentals of cinematic storytelling - components that make up a successful script; character, plot and structure, theme, imagery, dialogue, point of view, and the world or setting of the script. He uses well-known romantic comedies like Shakespeare in Love, Tootsie, Annie Hall and When Harry met Sally. The brief historical overview shows the development of this wonderful genre and he even gives some pointers about the future of the romantic comedy. I liked the chapter of Being Sexy. There is no longer the need to shut the bedroom door on the sex act but when sex is portrayed it should be more that just sex. Mernit uses the example of the French movie Cousin, Cousine to explain how to make sex sexy. He mentions other movie examples to demonstrate how to use the 'bedroom' not to stop the action but to further the plot, reveal character and heighten conflict. The exercises at the end of most chapters are a must to further your understanding and insight of the content of the chapter. I have even copied the romantic comedy rewrite checklist on pages 244 - 247 to remind me of what is needed to write a successful script. Writing the Romantic Comedy is aimed at beginners and seasoned writers alike, because even a successful movie like Runaway Bride has problems that can be solved with the help of Mernit's insight. Writing a romantic screenplay is still hard work, but this book will give you the unfair advantage we need over our competitors. The best recommendation to buy this book, other than the above, is to wait for my (eek) screenplay - inspired by Billy Mernit.
| 
