It takes some writers a while to figure out what style and flavor of genre they want to write. Doing so it's inevitable that they fill out their stories with characters.
So how should writers who write romantic comedies approach the subject of filling out their rom-com material with characters?
Here's an initial way of thinking of character rosters and groupings in romantic comedy stories:
- Main couple: typically, a man and woman. (Not to say there aren't same sex pairings out there, but if you write that kind of material you really are aiming for smaller and nitche audience). Your main couple is the driver of your rom-com story and pits the central question: Will this couples foray into the romance result in romantic satisfaction for them both.
- Buddy/mentor characters: When a man a female embark on a romance inevitably they are councilled or lead by others in the circle of influence. Buddy/mentor characters help the main couple cope with dealing with the prospective romance in question.
- Comic relief characters: These can be buddy/mentor characters OR unique characters that exist in other ways as rom-com story unfolds. Comic relief characters bring zest and relief to rom-com material.
- Romantic thwarts/Bellamies/wrong guy or gal: These are characters that threaten the central romance in rom-com material. Sometimes these character fuse with comic relief characters or buddy/mentor characters. Though many rom-coms in the last lexicon of romantic comedies released over the years have used straight-laced thwarts.
- Setting characters: These are characters that arise out of the setting from which you've placed your story. Workers at places that you main couple goes to, coworkers.
The first four in this five group set I've listed aren't really ideas of my own. A lot of that thinking/logic came from the great Billy Mernit and his great paperback, Writing the Romantic Comedy which really helped me see how romantic comedy movies and stories worked from a story construction function outline through character placement. The term "setting character" is an E.C. Henry original designation -- to best of my knowledge as I've heard that said before. All of this is really useful to WRITERS of rom-com material. And though we don't have to agree on everything, I think this construct helps unify rom-comers in a way of looking at this from the prism of characters looks back at structure and story to find their proper place in it all.
Some MAY argue that the power couple trumps all when it comes to writing romantic comedies...
A good "meet meet" is great, but that's now where the story ends!
Me, however, I disagree with the universal application of that axiom across the vast spectrum of this genre.
Over the course of many years writing, I'm finding more and more, I that I prefer a broader look at STORY when it comes to romantic comedies. I'm more in the Judd Apatow camp when it comes to comedy material.
So what is the Apatow camp like? Well, if watch some of his movies and movies that fit comprably to his. It's a BROADER approach to characters in story. It's less of focus on the main couple. Don't know what your feeling about The 40-Year-Old Virgin (2005) are. Heck it's been nearly 20 years since that gem was released. But it's significance in the overall rom-com umbrella should not be minimized. That cast of characters was AWESOME! This movie was farrr from a one-note focus on Andy and Trish. Eventually the movie turns to that, but it takes a long time to get there. In the meantime you have a focus of Andy's coworkers at Smart Tech, and even Trish has comprable issues with her daughter, who is getting serious about being sexually active herself.
Now throughout this post I've place images from the cast of Dan in Real Life . Though this movie stars Steve Carrel, who was the star of The 40-Year-Old Virgin, its supporting cast is equally if not better than that of Judd Apatow's opus -- and that show is know for its lasting impact of launching such stars as Elizabeth Banks, Romany Malco, Seth Rogen, Paul Rudd, and Jonah Hill.
Throughout its history, however, I feel confident in saying that the rom-com genre has been dominated by the prevailing thought that the leads must carry the story, and that all other characters and sub-plots needed to fall so the wayside that cliche characters were commonplace and acceptable commodities.
Great characters in rom-com material -- gotta pin them down!
Now, even in my earlier five groupings of rom-com characters that does lend itself to stereotypes. I, however am NOT an advocate of that style of storytelling. I do not like character that just seem to exist in function of the lead couple in question.
Of course every MEANINGFUL story can't just dive into the inner workings of every character that appears on screen. But I believe the overall mix of characters: main to bit roles; should be believable entities unto themselves. So put in the necessary effort for that feat to be achieved! Yes, rom-coms do have core tenants of romance that is intimate. But life is dynamic with many things in play. Romance seldom happens in a two person vacuum with no one else involved.
Hup, you're in a romance -- and you've been found out!
It's taken me some time to "get" my forte in writing, and the "gifts" I have to offer. Over time I've come to appreciate BROADER stories -- even in rom-com material. For my $$ I want lots of characters and conflicting agendas. I don't favor stories from small minds who put all their eggs in the main couple basket.
Of course your main couple matters in rom-com material. My argument is that's not the end-all. You should have more. So bend stereotypes into real characters who could exist outside the vacuum of your main characters foray into romance. Challenge yourself as a writer to know your supporting characters BEYOND the limits of being a product of function in the plot. You should make every characters so interesting that they COULD BE the main subject of a story of their own.
So, yes, I do believe in plot. Big fan there. But your characters matter too, and if you're a good writer you SHOULD be able to pen characters that trigger the mind and desire of the reader or viewer to want to see more of them: both in primary character function and secondary.
Dan in Real Life (2007) is one of the the best movies ever made -- and it just so happens to be a romantic comedy witha STRONG Thanksgiving accent. So pop it in over the holiday season , treasure it, and consider my writing advice.
Till we speak again,