I. Introduction II. Description of two eras A. The Age of Enlightenment B. Romantic Period III. Writing styles A. The Age of Enlightenment a) Thomas Paine “Common Sense” b) Ben Franklin “Poor Richards Almanack” B. Romantic Period a) Ralph Waldo Em...
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Consider these deeply felt words from the poet Elizabeth Barrett Browning's "Sonnet XLIIII" from Sonnets from the Portuguese as inspiration for when you put pen to paper for your love letter:
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What most people think of when they hear 'romantic comedy' is a man and a woman trading witty barbs across a restaurant table. But this kind of typical talking-heads fare is far from all our genre can be. In fact, some of the most successful romantic comedies are hybrids -- movies that have expanded their audience by cross-breeding with other genres. Romantic comedies can be action-adventures ('Romancing the Stone'), gender-benders ('Tootsie'), sports comedies ('Tin Cup'), ghost stories ('Truly, Madly, Deeply'), political ('The American President'), satirical ('L.A. Story'), period pieces ('Shakespeare In Love'), crime stories ('The Mexican'), teen movies ('Clueless') and more. This kind of cross-genre inter-breeding has kept our genre healthy for decades, and it's something to think about as you shape your romantic comedy with an eye towards the marketplace. You may already be edging into another genre's territory in your story. If so, maximize that element and plunder all it has to offer. Studios are more likely to be intrigued by a romantic comedy that also promises the kind of big screen action that a crime, adventure, sports, etc. movie provides.
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Lord Byron (1788 – 1824):
Byron is one of the few British Romantic writers to achieve widespread fame during his lifetime. Byron was good friends with Percy Shelley, but very much disliked (and was disliked by) Wordsworth and Coleridge. In fact, Byron’s poetry bears little resemblance to that of the Lake Poets; it’s style and form is much more similar to British poetry of the 18th century. His contribution to the period comes in the form of the Byronic hero, a “boldly defiant but bitterly self-tormenting outcast, proudly contemptuous of social norms but suffering for some unnamed sin” ().
Some characteristics of Romanticism include: emotion over reason, senses over intellect, love for nature, use of the hero and the exceptional figure in general, emphasis of imagination being the gateway to spiritual truth, and an interest in folk cul...
John Keats: (1795 – 1821):
Keats was the prodigy of the Romantics. Though dead at age 25, he was enormously prolific. During his brief career, he was stubbornly (tough fairly successfully) insistent on maintaining his artistic independence and originally, even going so far as to refuse to befriend Percy Shelley out of fear that the slightly older, more established poet might influence his writing. As a result, Keats's poetry, though distinctly Romantic in flavor, is unlike any of his contemporaries. He is best known for his sonnets and odes, particularly "Ode to a Nightingale" and Ode on a Grecian Urn." He is also well-known for his love of the classics of antiquity, which often filters into his poetry.
William Wordsworth (1770 – 1850):
Wordsworth is one of the domineering figures of British Romanticism. He was good friends with Samuel Taylor Coleridge, and the two of them (along with some other writers who are no longer as well known as these two) settled in the Lake District in northwestern England. The group is often referred to as “the Lake Poets.” In 1798, Wordsworth and Coleridge anonymously published a collection of poems entitled Lyrical Ballads. Many critics cite the publication of this volume as the true beginning of the Romantic Period. In the 2nd edition of Lyrical Ballads (now published under Wordsworth’s name), Wordsworth added a preface which outlines his aesthetic theory and his views on what makes for good poetry. This preface is often considered as a manifesto of Romantic ideology.
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We go into a romantic comedy already knowing that our leads are going to meet, lose and, ultimately, get each other. So creating two unique characters an audience will fall in love with and NEED to see united is the most important key to such a movie's success. All great characters have purpose and credibility, are empathic and complex. But romantic comedy leads have additional requirements. They're emotionally incomplete people who get completed by their mate-to-be. One (if not both) of your protagonists should have an inner conflict that the story's romantic relationship confronts and ultimately resolves. The 'chemical equation' in 'Moonstruck' makes sense: Loretta, a woman lacking passion in her life, combusts with Ronnie, an operatic Mr. Passion. Creating such 3D leads with interlocking needs is how chemistry happens in a romantic comedy, and it's got to be on the page first, if you want to attract stars who can get a movie made. What do you think Meg Ryan's looking for in a role, a Meg Ryan type? No, she's looking for a wonderfully written, never-seen-before part played opposite the kind of suitably significant leading man that'll catch a Hugh Grant's eye. So whether your couple be made up of opposites or two sides of one coin, write compelling characters -- who believably belong together.