The unexpected complexity of a perfect romantic comedy

We all know the snobbishness the genre faces. People think romcoms are ‘frothy’, ‘easy’ and ‘all the same’. They make judgements about the readers and their intelligence levels. Even more so, those judgements apply to the writers.

But those of us who love, read and write romantic comedies know just how powerful they can be. Re-reading my favourite romantic comedy is like a comforting hug, taking me back to a different time and reminding me that happy endings exist. They evoke a sigh of contentment. They are infinitely satisfying.

At this moment in time, where politics, environmental issues and disagreements make the world a dark and stressful place, I don’t think it’s at all surprising that people are reaching for books that make them feel good. That let them escape for a few hours with likeable characters, solvable problems and personal growth. Love, as always, conquers all and everyone gets what they deserve.

What’s so wrong with that?

Absolutely nothing! But romantic comedies are so much more than that. In putting together my syllabus for my writing course this autumn in how to write romantic comedies, I was briefly stumped. There wasn’t that much to it, surely? A loveable main character, a strong storyline, a love interest that made you swoon…

But no, I realised as I tried to find a semblance of order, there was so much to it. There was building tension between the couple, and getting the pacing perfect so that readers could gallop through to the conclusion, or pace themselves like nibbling at a delicious cookie, savouring every crumb. There were the sub-genres and the tropes you expected. There are the moments and storylines you can see from a mile off, and the skilful writing that makes them enjoyable and believable. There’s the funny characters and the embarrassing moments. There’s the learning and the journey and walking a fine line between who your characters are and who your reader wants them to be.

It’s easy to write lazy and bad romantic comedies. We see enough of them as failed movies. They fall back on stereotypes without paying homage. They don’t strive to find something new or make anyone lovable. They expect you to accept what’s happening because you like the genre and that’s what you expect.

There is true skill to writing a romantic comedy that makes the characters come alive. That makes a reader feel they have full escaped and replenished whatever part of themselves needed a breather. As Stephen King says, easy reading is hard writing.

My go-to comfort reads, my ‘perfect’ romantic comedies are ‘Faking it‘ by Jennifer Crusie, ‘You don’t have to say you love me‘ by Sarra Manning and pretty much everything by Mhairi Mcfarlane (but particularly ‘Here’s looking at you‘, ‘It’s not me, it’s you‘ and ‘<a href="http://<a href="https://www.amazon.co.uk/gp/product/B01N3SW6UZ/ref=as_li_ss_il?ie=UTF8&linkCode=li2&tag=almi-21&linkId=4c5928b8b47c1bfec56775e26b2d4686&language=en_GB&quot; target="_blank"><img border="0" src="//ws-eu.amazon-adsystem.com/widgets/q?_encoding=UTF8&ASIN=B01N3SW6UZ&Format=_SL160_&ID=AsinImage&MarketPlace=GB&ServiceVersion=20070822&WS=1&tag=almi-21&language=en_GB" ></a>""Don’t you forget about me‘).

So tell me: what are your romcom comfort reads, and what would you say to romcom critics?

Published by

almichaelwriter

A. L. Michael is the author of 13 novels. She's written fiction for Stairwell Books, Harper Collins and Canelo.

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