Romantic Screenplays 101 (11 page)

GENERAL CONSIDERATIONS IN SEXUAL PLOTTING

No one but no one wants the romance evolution to be predictable or cookie cutter perfect, yet you have all these prescribed timed events that must be created. You can
avoid predictability by careful consideration of :

1
.
Giving glimpses and hints,

2. Varying the revelation of one character’s awareness in comparison to the other’s,

3. Providing the perspective of the subplot/supporting character cast as they view the two interacting,

4. Creating kinky or unexpected sexual triggers (every time the heroine sees ice cream melting down a cone, she gets turned on or any time she innocently brushes his skin with a fingertip, he has to head for a cold shower) and

5. Don’t forget the concept of Repeat Images (daisies in YOU’VE GOT MAIL, crowds & watchers in CHASING LIBERTY, political campaigns in FIRST DAUGHTER, the ice skating lifts in THE CUTTING EDGE).

 From your character profiles you know the value system and personal philosophies of the hero and heroine. Of course, you know your own.  As you write—and especially when you revise—pay careful attention to the
consistency of those values
. If virginity is important (for any number of reasons) to the character at the beginning, a sudden decision to accept a sexual partner would be a major scripting flaw. Motivation-Reaction. Set up your inherent values and re-examine how you either uphold those values or the characters gradually change.

 Another hint for achieving credibility without melodrama is to be
realistic
. Graphic pornography is not being addressed here. The point is you must research your character types and roles to depict consistently the behavior that would
not
violate any of those roles in real life. We live in an age of lots and lots of STD’s (Sexually Transmitted Diseases), but so did the Victorians and the Romans.  Has the presence of STD’s ever prevented promiscuity? Nope. Sexual desire with pheromones saturating the air and exchanged do-me looks are as old as our species. But, the comfort level of your characters needs to be consistent with their personalities, histories and motivation to take risks.

 There’s one more factor: fantasies, a huge game a storyteller gets to play. When you are creating your characters and creating your plot, when you are 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 require careful research and meticulous rendering. Do not fall into the trap of thinking that you do not have to do this because you are merely providing the blueprint and the studio will have researchers, prop masters, costumers who must uncover authentic details. Of course, you will not be describing in as much detail as a novelist, but if you have to name something or use a prop, do so with researched authority.

 In the beginning was the Word and the Word was . . . written by the screenwriter. All of the details inherent to Time-Place are your responsibilities. Do not be so arrogant to think you can get away with vague wording. The quality of your story will rest in the authenticity of your detail . . . as well as the depth of your characterizations.

The Literary Essence of Theme

On the Paradigm just below Story Line (Log Line) is Statement of Purpose. When writing it you will include the phrase “I want to prove . . . .” In any story, this point you are trying to prove through the experiences of your characters will provide your thematic spine. It will be the star that guides every scene, the inclusion and exclusion of cast members, the glimpses vs. depth of character, back story, subplot. It can be simple or complex, but it must be the one single concept your story impresses on your reader/audience.

The Difference of Romantic Theme

Harking back to predictability of the romance genre that you must grapple with and defy, here is one list of the kinds of romantic stories in our culture:

1. Innocent being initiated

2. Cynical, hardened becoming vulnerable

3. Marriage of convenience

4. Forced marriage

5. May-December Story

6. Social/Cultural/Professional barriers

7. Shared adventure

8. Rediscovery of an old love

9. Inspirational/Christian

Various movies had to have flashed through your mind as you read this list. And you should be asking, “How can it be that simplified?” Well, long before our time, an astute Frenchman named Polti analyzed Greek and Shakespearian stories and concluded that there are only 36 basic stories that can be told.  Many have challenged his assertion but have not yet identified a short story, novel, stage play or film that could not be found on his list. In fact, many sophisticated stories even include more than one with a main plot and an influential subplot.

POLTI’S 36 DRAMATIC SITUATIONS

1. Supplication: Persecutor, Suppliant, Authority Figure

2. Deliverance: Unfortunate, Threatener, Rescuer

3. Crime Pursued by Vengeance: Criminal, Avenger

4. Vengeance taken for Kindred upon Kindred: Avenger, Guilty Remembrance, a

Relative of Both

5. Pursuit: Punishment and Fugitive

6. Disaster: Vanquished Power, Victorious Enemy, Messenger

7. Falling Prey to Cruelty or Misfortune: Unfortunate, Master

8. Revolt: Tyrant, Conspirator

9. Daring Enterprise: Bold Leader, Object, Adversary

10. Abduction: Abductor, the Abducted, Guardian

11. Enigma: Interrogator, Seeker, Problem

12. Obtaining: Solicitor, Adversary or Arbitrator & Opposing

13. Enmity of Kinsmen: Malevolent Kinsmen, Reciprocally Hated Kin

14. Rivalry of Kinsmen: Preferred Kinsman, Rejected Kin, Object

15. Murderous Adultery: Two Adulterers, Murdered Spouse

16. Madness: Madman, Victim

17. Fatal Imprudence: Imprudent, Victim, Object Lost

18. Involuntary Crimes of Love: Lover, Beloved, Revealer

19. Slaying of Kinsman Unrecognized: Slayer, Unrecognized Victim

20. Self-Sacrificing for an Ideal: Hero, Ideal, Creditor, Sacrifice

21. Self-Sacrificing for Kindred: Hero, Kinsman, Creditor, Sacrifice

22. All Sacrificed for Passion: Lover, Object of Passion, Sacrifice

23. Necessity of Sacrificing Loved Ones: Hero, Beloved, Necessity

24. Rivalry of Superior & Inferior: Superior, Inferior, Object

25. Adultery: Two Adulterers, Betrayed Spouse

26. Crimes of Love: Lover, Beloved, Social Norms

27. Discovery of Dishonor of Beloved: Discovered, Guilty

28. Obstacles to Love: Two Lovers, Obstacles

29. An 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.