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Steph Olivieri Bourbon ~ Writing Coach

~ I TEACH emerging female writers in tv/film & novels HOW to create stories to fall in love with✨© Stephanie Bourbon 2022

Steph Olivieri Bourbon ~ Writing Coach

Monthly Archives: May 2021

How To Write A Story That Works

27 Thursday May 2021

Posted by StephOBourbonWriter in Novels, Writing (film & television)

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Comedy, how to write, novel writing, romantic comedy, screenwriting, storytelling, TV writing, Writing, writing comedy, writing community, writing tips

Hello Writers, today I’m talking about writing a story that keeps the reader or audience invested, and evokes something to talk about after.

This is important. Many stories are just “meh” and they should have worked but didn’t.
I never want to cut any writers, cast, crew, directors, authors, publishers, or anyone who is working in a creative field down so please know that everything I write about I am only doing so to give you examples of things that didn’t work–and let’s be honest, everyone who worked on these projects knows that they didn’t go the way it was planned–box office & sales is usually a big indicator-not always because some great stories are never huge successes but you know what I mean. Stories that should have worked but didn’t.
ALEX & EMMA – rom-com film from 2003. About a writer who needs to finish a novel in 30 days or he’ll be murdered by loan sharks. The reason it didn’t work was both in the plot and the characters.
THE LOVE PUNCH – rom-com film from 2013. A divorced couple schemes to get back money that was stolen from them. The reason it didn’t work was really in the plotting and how everything just worked out for them, as well as many unbelievable things that happened.
JOEY – comedy television show spin-off of FRIENDS. Joey Tribbiani moves to Los Angeles from New York to pursue his acting career. Why it didn’t work? So many reasons, but the big one is that there was too much of the “wouldn’t it be funny if” and not enough character development and or reasons for anything.
PAN AM – drama television show. This show relied too heavily on nostalgia and not enough on character & plot. It could have been great but fell super flat.

Stories that WORKED and why

WHEN HARRY MET SALLY – rom-com film 1998. Two friends who are complete opposites can’t see what is right in front of them and continue to make mistakes with romantic relationships. Complete opposites who don’t even like each other at the beginning-but every single thing they say is there for a reason. The plot and story arcs progress in a natural manner and everything that happens moves the story forward. Everything, even the famous scene where she pretends to have an orgasm in the diner, that shows who she is, and also that Harry is often wrong about his assumptions about women. When they get together it messes up their friendship which shows us that they really love each other even if they won’t admit it. It’s real and nothing that happens is based on “wouldn’t it be funny if”.
IT’S COMPLICATED – rom-com film 2009 by Nancy Meyers. A divorced couple launch into an affair after their son’s graduation. I don’t know why this doesn’t have a higher score on IMDB because it’s completely brilliant. Here is a story about a couple who already know each other and have been divorced for some time, he is remarried to a younger woman and yet they have an affair. Why it works is because of character. Everything that is done is true to who they are as people. She wants her life back, or so she thinks, and he is having a later than a mid-life crisis with his new young wife wanting to have a baby. He wants to feel normal and she wants to feel desired so they fall back into bed, and comedy happens naturally. The plot also unfolds in a natural progression and there are some very funny scenes that move the story forward.
FRASIER – comedy television show-spin-off of CHEERS. 1993 Frasier moves back to Seattle to start his life over and ends up living with his father. This show works on every level and for a spin-off, it’s quite brilliant. We already knew Frasier but we didn’t know Marty (his father) or Niles (his brother). They could have failed so hard with this one by just having the same Frasier we met at the bar in Boston. High & mighty snob commenting on how everyone is below him, but that would have been boring so the writers introduced us into Frasier’s world with a father who is everything that Frasier thinks he is above. Marty is uncouth, blue-collar, beer drinking, rather watch a game at McGinty’s Pub & eat burgers that cost under $10 whereas Frasier & Niles wouldn’t be caught dead doing anything blue-collar or setting foot in a pub. The comedy writes itself. Every episode is riddled with juxtaposition in the characters. They never do anything just to be funny. Everything they do in every scene is to reach their own goals but their character is what makes it so funny. The show is also rounded out with Frasier’s job as a radio psychologist where Niles has his own practice. The secondary characters of Roz and Daphne bring even more layers into Frasier’s world. We also never meet Nile’s wife but his actions and dialogue make it clear who she is and it’s naturally funny.
DOWNTON ABBEY – drama television series 2010. A chronicle of the lives of the British aristocratic Crawley family and their servants in the early twentieth century.Oh Downton why are you so perfect? Character and plot/story arcs that work. From the very first scenes where you have the father of this rich family reading a paper and talking about people they knew on the Titanic and how this would affect their family in a way that would change everything to seeing the servants actions and reactions to the news and getting the day going, we are enticed to watch more. The first thing they got right was opening with a historical event that has a worldwide fascination, even now, 109 years after the sinking. Then they showed us who the characters were through dialogue and actions. There was never anything that told us who they were, they showed us. Through the years things that happened in real life like WW1 showed up and played a huge role on the show and that also came with the unexpected loss of favorite characters and like all great series ended every episode making us crave the next one. What will happen next?? I need to know. They rounded the show with characters who we loved to hate but also cared about like Thomas the footman turned valet turned second Butler turned Butler. The showed us human kindness and how we are all alike even when separated by class.

To craft a story that works you need two things.

Well, you need many but these are the two that you MUST have.

1) Great CHARACTERS-which means, your characters must have their own personality as well as wants and goals in every scene. Everything they do must happen for a reason. If you look at shows like FRIENDS or EVERYBODY LOVES RAYMOND you see that in every scene the characters’ intentions are for what they want the outcome to be. When you have a juxtaposition of characters’ wants and needs comedy happens. There is no reason to write a bunch of jokes for the purpose of being funny. For dramas, it’s basically the same principle. Take CHICAGO PD and GREY’S ANATOMY. Both are strong ensemble shows with characters who are very distinct and the way they act, speak, and do everything comes from WHO they are and nothing else. AND your character must be the author of their own destiny. Harry got help from his friends in all of the books/movies but it was because of what he did that it happened. (HAPPY POTTER) You can’t have things just work out or have someone else solve the problem or save your characters. In comedy as well, they are the master of their own disaster-always and then they realize some change they need to make, take responsibility and it works out. THE PROPOSAL Margaret realizes that she is doing the wrong thing so she takes action and leaves Andrew at the altar and faces the consequences.
2) Great PLOT/STORY ARCS-this means that your story must move along at a pace that keeps us interested and you must follow the format for what you are writing.Your story doesn’t have to be filled with action. Take DOWNTON ABBEY-it’s a bit slow sometimes but still we can’t look away. Look at SEINFELD or FRIENDS most of which takes place in apartments but we were excited every week to see what happened in their lives. The plotting worked always. When you are writing anything you have to think in terms of beginning, middle, and end. There has to be an end goal and then you must give the story ups and downs. Stories that work in a straight line or everything works out too conveniently fall flat and we stop reading or watching.
I know you can do it!

I recommend the following books to help you.

SAVE THE CAT THE HIDDEN TOOLS OF COMEDYTHE PLOT WHISPERER WRITE YOUR NOVEL FROM THE MIDDLE WIRED FOR STORY

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Romantic Comedy Character Archetypes & Who Needs To Be Included

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Posted by StephOBourbonWriter in Novels, Writing (film & television)

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character, character archetypes, how to write romantic comedy, romantic comedy, screenwriting, storytelling, TV writing, Writing, writing novels, writing romantic comedy, writing tips

This week I’m talking about characters in comedy, specifically romantic comedies. What I am seeing in a lot of work that is coming in is the stereotypes of the snarky leading lady-who honestly, no one, not even our leading man, would like because she’s too awful, and the womanizer leading man-who again, why would anyone give him a chance? And then the other characters are throwaways. 

Please don’t do this with your secondary characters, they can be just as important if not more important than your leads!! 

The TV show FRIENDS, which came out in 1994 was originally called, Monica & Friends, meaning Monica was the leading lady soon it really became all about Ross and Rachel but in the beginning, it was Monica’s story. 

When the show opens we see Monica and her friends handing out in a coffee shop, establishing who they all are and soon a bride-to-be walks in crying (inciting incident)-Rachel. We see through he actions and dialogue that she is a spoiled rich girl from Long Island who went to high school with Monica. Monica’s world changes when Rachel moves in with her–(new world). The show was Monica’s story and soon became an equal ensemble cast due to the strong character types. 

Another great comedy is Modern Family. You could say it’s about Claire’s family? Or Jay’s? Probably Jay’s since he is the patriarch of the family, but all the archetypes are there and it works. 

Novels are different-or are they? 

Take Crazy Rich Asians–

The story opens with Rachel and Nick at their favorite coffee shop and he is asking her to go to meet his family where a wedding is to take place. Little does she know who she is with. 

Rachel-leading lady

Nick-love interest

Then we go to meet Eleanore -the mom

the story also has, the best friend, (for both of them), the side-kick, and a very strong B story running throughout. 

One more example. In Hallmark’s Christmas movie Let It Snow you have a main character/leading lady, a love interest, friends, and parents, and a boss (bad guy-who isn’t so bad, it’s Hallmark after all and he’s also her father-of course in comedy we keep them all connected). This is a simple plot where the main character hates snow and is trying to impress her father (issues with feeling accepted) so she tries to get a village’s snow valley lodge shut down but she meets her love interest and realizes that she has had it wrong all along. It’s simple but works. I know a few of you are writing light romantic comedies–and they are fine but the ones that work have these characters in there. 

You don’t need to have ALL of them but you should have a good combo-the archetypes are who the characters are, and you can have them in any role in your story. 

CHARACTER ARCHETYPES

1. Lovable Loser

2. Logical Smart One

3. Neurotic

4. Bitch/Bastard

5. The Dumb One

6. In Their Own Universe

7. Womanizer/Manizer

8. Materialistic One

I’ll use FRIENDS (available on HBO Max for streaming and also runs on cable every day)

1. Lovable Loser (Pheobe)

2. Logical Smart One (Ross)

3. Neurotic (Monica)

4. Bitch/Bastard

5. The Dumb One (Joey) 

6. In Their Own Universe (Chandler) 

7. Womanizer/Manizer

8. Materialistic One (Rachel) 

You could argue that some of them cross over. 

Okay, I’ll do  Legally Blonde to-they aren’t all in there.

1. Lovable Loser (Serena & Margarette)

2. Logical Smart One (Elle)

4. Bitch/Bastard (Vivian) 

6. In Their Own Universe (Paulette)

7. Womanizer/Manizer (Prof. Callahan) 

Now look at it in terms of WHO must be in a romantic comedy-they can be any of the archetypes from above but these people need to be in your story.

Leading Lady -Elle

Love interest- Emmett

Ex-lover/boyfriend/soon to be ex-Warner 

Villain/bitch-Vivian (all the smart students) and Prof Callahan 

Side-kick/friend-Paulette

In Steve Kaplan’s book, The Hidden Tools of Comedy he goes over the archetypes in COMMEDIA basically how it all started-which is great and I HIGHLY RECOMMEND this book.

Back to the beginning of this newsletter-using stereotypes-if you do, make sure that you do it in a unique way. Why would you want your leading lady to be snarky and bitchy? What is the point? 

In The Proposal-Margaret is bitchy but not snarky-and we find out why she is like that when she opens up to Andrew-there is always a reason for that behavior, or there needs to be. 

In The Devil Wears Prada-Andrea is the leading lady and is sweet, innocent, and a little naive (at least in the film version, in the book she is a little more jaded-or becomes jaded quickly) and Emily is the bitchy one. 

Make sure if you go there, you have a reason and you must make them likable in some way, or readers or viewers won’t care. 

I hope this was helpful!!

Happy writing! XO Stephanie

Grab my new workbook on the 5 tips to writing a romantic comedy HERE

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Breaking Down Legally Blonde~The Perfect Romantic Comedy

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Comedy, legally blonde, novel writing, romantic comedy, screenwriting, storytelling, TV writing, Writing, writing rom coms, writing tips

Hello Writers!

This week, I’m breaking down a popular romantic comedy from twenty years ago that nails it when it comes to story structure! LEGALLY BLONDE

How Legally Blonde Does it Perfectly!

When this film came out I lived with a roommate, whom I’m still friends with so I mean her no disrespect here but she was like, “ugh, so stupid, who would go see that?” and I replied, “I saw it and it’s really good” and then I explained why. She still wasn’t interested in it but that was part of her “I’m too cool to watch and like anything commercial” vibe but she did listen. 

It’s not just that I liked, well LOVED, Legally Blonde, it’s that they got it right from the opening act to the end, it’s spot on and why I am using it today to show you how to create the perfect story structure–if you are writing romantic comedies this is especially a great example but even if you aren’t, the principles work for you! 

In romantic comedies, there are traditionally 7 story beats or arcs. 

  1. Setup / promise of the story
  2. Inciting incident
  3. Turning point
  4. Midpoint / Raising the stakes
  5. Swivel: second turning point
  6. Dark moment / crisis
  7. Joyful defeat / resolution

 Let’s go over Legally Blonde now.  

I also want to note that one of the main reasons that Legally Blonde works is that in the very beginning the writers show us that Elle is actually smart. There is a scene at a snooty store in Beverly Hills where two sales ladies decide that Elle is a ditz with a credit card but she puts them in their place with her knowledge of design, the designer, the fabric, the tailoring, and they shut up. 

That was brilliant and made the entire rest of the story believable. If they had kept her as some stupid blonde, her getting into Harvard never would have been believable. 

Here are the seven beats in traditional romantic comedies!

1. Setup/Promise of the story– We meet Elle and find out that she is graduating from undergrad and is expecting a proposal from her boyfriend, Warren. We learn that she wants to marry him. That is her goal. 

2. Inciting incident-he breaks up with her so she decides to go to law school to get him back/get back together

3. New world-turning point-she attends Harvard 

4. Midpoint/mirror moment/recommitment-Warren tells her that she’s not smart enough, so she changes her focus realizing that she’ll never be good enough 

5. Swivel-next turning point-she is chosen to help with a real trial where she knows the defendant and holds her ground on the alibi

6. Dark Moment/Crisis-her professor hits on her and she gives up believing that no one will ever take her seriously because she is pretty and that’s all they see. 

7. Resolution-she goes back into court with the help of a guy she meets (this is the 2nd storyline BTW) and wins the case for her defendant 

In your writing, you want to make sure to have these plot arcs or beats. It’s important to use the story structure formats that we all know because they work. If you have been faced with rejection of any kind-even from critique partners, or are getting feedback that your story is flat, rewriting out the beats will help you get it into shape! I promise

Legally Blonde is on Netflix now, so your homework is to go watch it and look for these moments. 

Happy writing! 

XO Stephanie

Legally Blonde  written by Karen McCullah & Kirsten Smith (screenplay) and Amanda Brown (novel) 2001

I have a new FREE pdf workbook that you can grab here on writing swoon-worthy romantic comedies 

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