History SoYouWantTo / WriteARomanticComedy

!!'''PotentialSubversions'''

Not a great deal needed here - all you really need for this genre is a camera and two people, minimum - but you can always work something in. The big climactic get-together scene is usually good for this sort of thing.

As above, the variety of settings influences the variety of possible costuming available; you may wish to use costuming to give the audience a sense of character.

* The first is that they are attracted to each other. Hollywood typically shows this by just having a beautiful woman show up and the man just be automatically interested because [[TheChick there are no other women in the film]]. In other words, AllMenArePerverts. This typically results in a ShallowLoveInterest situation. So what you need to establish is why the characters' ''personalities'' result in attraction between them. There should be something that the Romantic Lead wants, and the Love Interest is the Love Interest because s/he provides it. Take "UptightLovesWild," for instance (and its occasional Most Logical Exaggeration, the ManicPixieDreamGirl). Built into the trope is the idea of two characters who complete each other by providing counter-balance. The idea that two characters have compatible personalities will help the audience believe that they have reasons (beyond hormones) for wanting to kiss.

Also, consider very well the impression you want the heroine to leave; while the [[MasterCharacterHeroines Persephone]] [[RomanceGenreHeroines "waif"-style]] heroine is [[TropesAreNotBad a valid choice]] whose character strengths get woefully undervalued, there's much to be said for a powerful girl who's more than a match for the guy, as ''Webcomic/GirlGenius'' is [[http://www.girlgeniusonline.com/comic.php?date=20090508 currently showing us]]. A lot of Romance starts with a strong girl and breaks her; consider one who grows in ways other than merely turning gentle.

However, SturgeonsLaw applies, and a lot of those comedies are ''terrible''. Do not despair if you're thinking of writing one, however; the good people at TV Tropes Wiki have sat through many of these and identified what works and what doesn't, and how this might hopefully help your effort be the best it can be. Of course, be sure to check out [[SoYouWantTo/WriteAStory So You Want To Write A Story]] for basic advice that holds across all genres. We also have [[SoYouWantTo/WriteALoveStory So You Want To: Write A Love Story?]] for slightly more detailed, if still generalized, ideas about romance.

Oh, and, it's a comedy, so you need to be funny. If you lack this talent, do not attempt to write a romantic comedy.

What kind of tone do you want to establish? What kind of jokes do you want to tell? [=RomComs=] are typically light-hearted affairs which emphasize the idea that LovesMakesYouDumb and can lead you into all manner of silly, embarrassing situations. However, there is also a trend of {{deconstruction}} where the "LoveMakesYouDumb" trope is PlayedForDrama instead. The resulting laughs are more in the vein of BlackComedy. While this is a bleaker tone to manage, it has the added benefit of being a lot more realistic: while a sizeable amount of the world population has experience in successful long-term relationships, a ''much'' larger demographic, approaching 100%, has experience with ''failed'' ones. Finally, because one of the (typical) goals of dating is to find someone to have sex with, [=RomCom=] has the option to multi-class into SexComedy, which is always a wellspring of amusement.

As the Romantic Comedy is a very common, very popular genre, it's easy to get lazy with it. Unfortunately, the audience will be able to tell if you're just going through the motions. It's also very formulaic in many ways, and can be quite predictable for much the same reasons; try and think of different spins you can place on the situation, or subversions of obvious tropes that you can make (some suggested below).

Specifically, it's also very easy for reasons to keep the lovers apart until the very end to come across as being contrived or unconvincing; if the plot is demanding that the lovers be kept apart, then the reasons for this should be natural and logical, and should stem from the characters themselves rather than outside contrivances.

It's also common to set up a LoveTriangle situation with the Protagonist, the Love Interest and RomanticFalseLead, someone whom the Protagonist must compete with in order to win the LoveInterest. Be careful with this character, because they often operate more as a plot device (they're essentially a tool to keep the characters apart) than a character in their own right. Making a RomanticFalseLead can be difficult to pull off. Making him/her too much of a JerkAss (or a bland, boring non-entity) will result in the audience wondering why the Love Interest is with the RomanticFalseLead sees and, consequently, whether the Love Interest is even worth persuing (since he/she obviously has poor taste in romantic partners). On the other hand, making the RomanticFalseLead too much of a nice guy will result in the Protagonist coming across like a selfish JerkAss for trying to destroy a healthy relationship. Furthermore, having a RomanticFalseLead seem like a nice guy but suddenly [[DerailingLoveInterests reveal themselves to be a jackass]] can come across as inconsistent (and unbelievable). There is a middle ground, however, wherein RomanticFalseLead is a convincing romantic rival but also has enough flaws to justify being rejected. This middle ground can be quite tricky to find though.

Be wary also of setting up a RunawayBride situation as well, where the LoveInterest dumps RomanticFalseLead at the altar to be with their true love; unless you really play it well, this might seem less an affirmation of ThePowerOfLove, and more an illustration of the LoveInterest as Heartless Bitch (or, less frequently, Heartless Bastard) - s/he couldn't have let their future spouse down in a less publicly humiliating and destructive fashion?

* ''Anime/EurekaSeven'' is one of those rare shows which combine dramatic romance with action and do it well. If you're looking to cross rom com with sci fi or action, give that a look.

** ''TheresSomethingAboutMary'' (which is very funny) and

** ''LoveActually'' also deserves a big mention here, often being subversive and playing with tropes. For example one of the couple is about a guy in love with his best friend's wife and even though he doesn't get her it fits perfectly.

** There's a reason the works of Creator/JaneAusten are still read today, over two hundred years after they were first published; they're witty, insightful and, of course, romantic. ''PrideAndPrejudice'' seems to be the most popular one (both in novel form and in adaptations) but her other works, such as ''Literature/SenseAndSensibility'' and ''{{Literature/Emma}}'' also have much to recommend them.

There's tremendous symbolism in the fictional union of Man and Woman, or so claims [[TheSevenBasicPlots Christopher Booker]]. By putting the focus on the love itself on a backdrop of any other plot, the Romance genre distills the symbolism to its essence, showing us two characters who overcome both internal and external obstacles to ultimately come together in the bonds of True Love. Some might even say that it's the job of the Romance genre to be at least that predictable.

So messing with the basics can make for a less satisfying work... maybe even a flawed work (go read Booker's ''TheSevenBasicPlots'' for more info on this). Still, there are possible ways to subvert the traditional elements of the Romance:

[[TheSevenBasicPlots Christopher Booker]] invests a lot of symbolism in his idea of The Comedy, which to him means a pair of lovers kept apart by either (1) the Antagonist or (2) the Hero, while the rest of the cast suffer from general confusion and misunderstanding that keeps them from getting into the proper and fulfilling relationships they're destined to enjoy. Once the Hero or Antagonist comes around (Booker claims it's ''usually'' a HeelFaceTurn that ends a comedy, though occasionally the Antagonist is driven off rather than redeemed), everything is brought to light, everybody finds their proper mate, and there's just a general rejoicing, as though a blight has been driven off the land.

So if you want to invest your story with symbolic roles and relationships, and especially if you want to rise to the level of Shakespeare with three or more couples who through misunderstanding and confusion can't get together until the end, then set yourself down for a long read with Booker's ''TheSevenBasicPlots''. (Long, long, ''long'' read. But it's good stuff.)

* Similarly, ''ElfQuest'' has a strong with a well-developed rival during the first graphic novel, and continues to build on the relationship long after the pair is "[[HappilyMarried married]]" (it's complicated). During the far-reaching story, there are moments of culture clash, of separation; the rival throws some new obstacles their way, and we even get to see the main pair as they raise twins. But just the first graphic novel alone would be a good study.

*** ''FourWeddingsAndAFuneral''
*** ''NottingHill''

* EurekaSeven is one of those rare shows which combine dramatic romance with action and do it well. If you're looking to cross rom com with sci fi or action, give that a look.

** There's a reason the works of Creator/JaneAusten are still read today, over two hundred years after they were first published; they're witty, insightful and, of course, romantic. ''PrideAndPrejudice'' seems to be the most popular one (both in novel form and in adaptations) but her other works, such as ''Literature/SenseAndSensibility'' and ''{{Emma}}'' also have much to recommend them.

*** ''[[BridgetJones Bridget Jones's Diary]]''

What kind of tone do you want to establish? What kind of jokes do you want to tell? [=RomComs=] are typically light-hearted affairs which emphasize the idea that LovesMakesYouDumb and can lead you into all manner of silly, embarrassing situations. However, there is also a trend of {{deconstruction}} where the "LoveMakesYouDumb" trope is PlayedForDrama instead. The resulting laughs are more in the vein of BlackComedy. While this is a bleaker tone to manage, it has the added benefit of being a lot more realistic: while a sizeable amount of the world population has experience in successful long-term relationships, a ''much'' larger demographic, approaching 100%, has experience with ''failed'' ones. Finally, because dating is (at least partially) a search to find someone to have sex with, [=RomCom=] has the option to multi-class into SexComedy, which is always a wellspring of amusement.

Firstly, who are your two love birds? What backgrounds do they come from? How are they different? How are they similar? Are they Peas In A Pod or will OppositesAttract?

And what kind of tone do you want to approach? [=RomComs=] are typically light-hearted affairs which emphasize the idea that LovesMakesYouDumb and can lead you into all manner of silly, embarrassing situations. However, there is also a trend of {{deconstruction}} where the "LoveMakesYouDumb" trope is PlayedForDrama instead. The resulting laughs are more in the vein of BlackComedy. While this is a bleaker tone to manage, it has the added benefit of being a lot more realistic: while a sizeable amount of the world population has experience in successful long-term relationships, a ''much'' larger demographic, approaching 100%, has experience with ''failed'' ones.

''40 Days and 40 Nights'' had the worst example of ThreeIsCompany and NoSympathy ever seen on screen. Seriously DudeNotFunny!

However, SturgeonsLaw applies, and a lot of those comedies are ''terrible''. Do not despair if you're thinking of writing one, however; the good people at TV Tropes Wiki have sat through many of these and identified what works and what doesn't, and how this might hopefully help your effort be the best it can be. Of course, be sure to check out [[SoYouWantTo/WriteAStory So You Want To Write A Story]] for basic advice that holds across all genres.

It's also common to set up a LoveTriangle situation with the Protagonist, the Love Interest and RomanticFalseLead, someone whom the Protagonist must compete with in order to win the LoveInterest. Be careful with this character; because they often operate more as a plot device (they're essentially a tool to keep the characters apart) than a character in their own right, RomanticFalseLead can be difficult to pull off. To much of a JerkAss or a bland, boring non-entity, and the audience wonders what the character with RomanticFalseLead sees in them -- and, consequently, whether the character is worth persuing, since s/he obviously has poor taste in romantic partners. Too much a nice guy, and the other partner begins to look like a selfish JerkAss themselves for trying to destroy a healthy relationship for their own selfish ends. Have RomanticFalseLead seem like a nice guy but suddenly [[DerailingLoveInterests reveal themselves to be a jackass]] can look inconsistent. There is a middle ground, wherein the Paolo is a convincing romantic rival but with enough flaws to justify being rejected, but it's tricky to find.

Your Protagonist and Love Interest should be charismatic, engaging, and charming. We should like these people and want them to ultimately succeed and find happiness with each other. This doesn't mean that they have to be (or even ''should'' be) perfect exemplars of human perfection, however; they should also possess character flaws and issues which affect how they engage with each other and how their relationship develops with each other. It'll be much more interesting for audiences to watch / read two flawed but ultimately decent people overcome their faults in pursuit of love than to watch two paragons fall for each other and become the Perfect Couple; that way, you'll also avoid SickeninglySweethearts.

* Not very many romantic comedies are worth note, however, you might want to check out:

However, SturgeonsLaw applies, and a lot of those comedies are ''terrible''. Do not despair if you're thinking of writing one, however; the good people at TV Tropes Wiki have sat through many of these and identified what works and what doesn't, and how this might hopefully help your effort be the best it can be. Of course, be sure to check out [[SoYouWantTo/WriteAStory So You Want To Write A Story]] for basic advice that holds across all genres.

Well, first you'll need a [[TheProtagonist Protagonist]] and a LoveInterest (although if you wish to try for a Romantic Comedy about onanism, by all means). You can decide which will be the man and which will be the woman (or vice versa, or both). You will also need a BetaCouple to underscore the romantic tribulations of the main two characters; generally these characters are the Protagonist and LoveInterest's Best Friends / Direct Siblings / Both and act as advisors and comic relief to the main couple and the audience. They may or may not get together at the end; alternately, they may be used to provide a counterpoint to the main couple (i.e. if the Protagonist is lonely and love-lorn, his / her counterpart in the BetaCouple may be happily married with kids).

Generally speaking, most Romantic Comedies tend to involve OppositesAttract - watching two people who apparently have nothing in common is often more interesting so see if they'll overcome their differences to get together (and more satisfying when they do). There's a lot more tension involved as well; audiences for these movies like to see a bit of SlapSlapKiss before they get together (not literally, of course; aside from the unfortunate connotations, the ''actual'' Slap! Slap! Kiss! scene is a bit of a DeadHorseTrope these days).

When it comes to pitfalls, this genre is a ''minefield''. Fortunately, so many others have been through it before you (and blown themselves up) that there's plenty of signs to show you where you might be misstepping.

Be wary also of setting up a RunawayBride situation as well, where the LoveInterest dumps RomanticFalseLead at the altar to be with their true love; unless you really play it well, this might seem less an affirmation of ThePowerOfLove, and more an illustration of the LoveInterest as Heartless Bitch (or, less frequently, Heartless Bastard) - s/he couldn't have let their future spouse down in a less publicly humiliating and destructive fashion?

Also, consider very well the impression you want the heroine to leave; while the [[MasterCharacterHeroines Persephone]] [[RomanceGenreHeroines "waif"-style]] heroine is [[TropesAreNotBad a valid choice]] whose character strengths get woefully undervalued, there's much to be said for a powerful girl who's more than a match for the guy, as ''GirlGenius'' is [[http://www.girlgeniusonline.com/comic.php?date=20090508 currently showing us]]. A lot of Romance starts with a strong girl and breaks her; consider one who grows in ways other than merely turning gentle.

* Don't neglect the stories that have Romance as a secondary factor instead of the primary one. For example, the webcomic ''GirlGenius'', which takes a mousy, incompetent lab assistant and gradually builds her into the most powerful force in all of {{Steampunk}} Europa, while also working with a romantic lead who's got a lot of growing to do himself. They're both powerful, both stubborn but capable of accepting when they're wrong (and changing), and ultimately well matched, though it was hardly apparent from the start.

!!'''The Epic Fails'''
''40 Days and 40 Nights'' had the worst example of {{Three Is Company}} and {{No Sympathy}} ever seen on screen. Seriously [[{{DudeNotFunny}} dude, NOT funny]]!

Aside from subverting the normal expectations, try setting the Romance in any number of secondary genres or settings that aren't what you'd think of when you hear "Romantic Comedy". For example, Romantic Comedy InSPACE. Or Romantic Comedy set in Feudal Japan or [[Film/LifeIsBeautiful in the midst of the Holocaust]]. Or a Romantic Comedy between a caveman and a cavewoman, or between bacteria (in the style of ''OsmosisJones''). Seeing the lovers develop in a new setting is interesting; there's been a [[ShaunOfTheDead zombie]] romantic comedy, why not try something else?

** There's a reason the works of JaneAusten are still read today, over two hundred years after they were first published; they're witty, insightful and, of course, romantic. ''PrideAndPrejudice'' seems to be the most popular one (both in novel form and in adaptations) but her other works, such as ''SenseAndSensibility'' and ''{{Emma}}'' also have much to recommend them.

** AhMyGoddess It is a long-running manga series with an excellent anime adaptation. The relationship moves slowly in the manga and the anime, but it is genuinely touching and sweet. If you like something that moves quickly, then look somewhere else, but if you've got time, then give it a go.

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** ''MyBigFatGreekWedding'' (which is both romantic '''and''' funny).

''[[AdventureTime Check, pleeease!]]''

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How does their relationship progress? Is it LoveAtFirstSight or [[SlapSlapKiss do they hate each other with a passion]]?

However, SturgeonsLaw applies, and a lot of those comedies are ''terrible''. Do not despair if you're thinking of writing one, however; the good people at TV Tropes Wiki have sat through many of these and identified what works and what doesn't, and how this might hopefully help your effort be the best it can be. Of course, be sure to check out WriteAStory for basic advice that holds across all genres.

Well, first you'll need a {{Protagonist}} and a LoveInterest (although if you wish to try for a Romantic Comedy about onanism, by all means). You can decide which will be the man and which will be the woman (or vice versa, or both). You will also need a BetaCouple to underscore the romantic tribulations of the main two characters; generally these characters are the Protagonist and LoveInterest's Best Friends / Direct Siblings / Both and act as advisors and comic relief to the main couple and the audience. They may or may not get together at the end; alternately, they may be used to provide a counterpoint to the main couple (i.e. if the Protagonist is lonely and love-lorn, his / her counterpart in the BetaCouple may be happily married with kids).

Your AlphaCouple also need that oft-mentioned, ill-defined quality of 'chemistry' with each other; they need to ''spark'' with each other. This creates UnresolvedSexualTension with each other that keeps the audience watching and guessing, and also makes the relationship credible. This is difficult enough on paper, but is super-hard if you're casting with actors, because chemistry in live action isn't just something that happens in the dialogue; it comes from the actors and how they play off each other. If the main couple really dislike each other off-screen and are incapable of hiding it, it'll show in the final product; obviously you can't make people like each other, but you'll want to make sure they can at least ''hide'' their dislike as much as possible.

** ''BeforeSunrise / Before Sunset'' (which are more Romantic Dramadies, but very very touching)

It's also common to set up a LoveTriangle situation with the Protagonist, the Love Interest and ThePaolo, someone whom the Protagonist must compete with in order to win the LoveInterest. Be careful with this character; because they often operate more as a plot device (they're essentially a tool to keep the characters apart) than a character in their own right, ThePaolo can be difficult to pull off. To much of a JerkAss or a bland, boring non-entity, and the audience wonders what the character with ThePaolo sees in them -- and, consequently, whether the character is worth persuing, since s/he obviously has poor taste in romantic partners. Too much a nice guy, and the other partner begins to look like a selfish JerkAss themselves for trying to destroy a healthy relationship for their own selfish ends. Have ThePaolo seem like a nice guy but suddenly [[DerailingLoveInterests reveal themselves to be a jackass]] can look inconsistent. There is a middle ground, wherein the Paolo is a convincing romantic rival but with enough flaws to justify being rejected, but it's tricky to find.

Be wary also of setting up a RunawayBride situation as well, where the LoveInterest dumps ThePaolo at the altar to be with their true love; unless you really play it well, this might seem less an affirmation of ThePowerOfLove, and more an illustration of the LoveInterest as Heartless Bitch (or, less frequently, Heartless Bastard) - s/he couldn't have let their future spouse down in a less publicly humiliating and destructive fashion?

**This equation is made even more gripping by the addition of a rival love interest who, in strong contrast to ThePaolo, is a well-developed character in his own right, and one the audience can enjoy and root for instead of booing offstage. (It helps that he [[spoiler:used to be the Hero's best friend]], and consequently they're capable of working together toward a common interest.) The Hero and the Rival are contrasted on many levels, equal on others; in fact, the contrast between them was showcased in a vignette that wasn't directly connected to the story, so we could see what they were like when the issues between them were dropped for a while and it was just the two characters vying for the lady's hand.