Writing the Comedy Movie by Marc Blake (Review)
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It is common knowledge among writers that when approaching the craft, adherence to a particular genre formula is key. Horror has to be horrifying, drama has to be dramatic, comedy has to be comedic. Inherent though it may sound, being a writer who is funny does not automatically make the content flow comedically on the page. Pairing that natural sense of humor with attention to detail and knowledge of genre history and structure evolution is the perfect recipe for your next screenplay. Wondering where on earth to start? Author Marc Blake has some ideas.
Blake’s Writing the Comedy Movie is an extensive comedy screenwriting masterclass bound in a book cover. Readers are educated on the history of comedy in film, the writers that developed the genre, and story structure breakdowns for every comedy sub-genre imaginable. This epic tome covers everything aspiring screenwriters need to know to create a strong, cohesive comedy story that is sure to make ‘em laugh.
What I Liked:
This is my second Marc Blake book and, true to form, it is extensively researched and lovingly shared. It was illuminating to be introduced to the plethora of elements that make up the genre. The most impressive thing about the book was Blake’s ability to uncover the formulas for every sub-genre in the comedy sphere and break them down beat by beat so that writers seeking to write a particular comedy story have a comparative look.
It was particularly interesting to note the contrasts between the American and British comedy styles over the course of film history and across sub-genres. Though Blake dedicates a chapter to comedy styles across the world, these two are referenced most consistently over the course of the book. In exploring the sub-genres of comedy, Blake makes a point to establish a few of the formulas to be characteristically American. My favorite example was the section titled Road Movies, which Blake explains is made possible by the expansive distance between country coastlines and the lack of major language barriers throughout. Though international attempts at the sub-genre have been successful, due to geographical characteristics and the cultural notion of “adventure on the open road”, Blake attributes it as an American invention.
My favorite chapter in the book was Women in Comedy. Here, Blake not only pays homage to female comedy writers both past and present, but also describes the differences of approach to comedy screenwriting across gender lines. He marks the abandonment of the “shrew” in film with the emergence of the “unruly woman,” commonly seen in screwball comedies as the female counterpart. In building upon this archetype over time, women in comedy have introduced a modern contrast to the “traditional” screen heroine: “independent, self-reliant and with the ability to control their own finances, bodies and destiny.” In other words, total bad-asses.
Constructive Criticism:
Like it’s predecessor, Blake and Bailey’s 2013 Writing the Horror Movie, it is not for the faint of heart. Novice screenwriters, tread lightly, lest you succumb to information overload. This book is extremely dense and though it is a complete look at the genre, I wouldn’t suggest this read for beginner writers looking for a starting point.
There were also no exercises to give readers the opportunity to put the concepts into practice. Because of the amount of material, I definitely would have loved that bit of reprieve between chapters to make sure I was grasping the major points.
Famous Last Words:
This book is a fantastic read for writers interested in getting a comprehensive look at a major genre. There is plenty of opportunity to learn something new, even for well-conditioned comedy writers. However, it shouldn’t be mistaken for a how-to guide or genre workbook; it is strictly an extensive genre breakdown. The only thing Blake doesn’t teach readers about comedy is how to be funny. That, unfortunately, can’t be learned, no matter what our mothers may tell us.
*This book was rated on a five star scale system with five stars being the highest ranking and one star being the lowest ranking.
For more from this author: Marc Blake
For more from this publisher: Bloomsmbury Publishing
About the Writer
Mercedes K. Milner is a Co-Founder and Administrator of the Write or Die Chicks and the Writers Group Coordinator. She is a staff writer for the WODC Blog, heads the Reading on Writing column, and co-hosts two original WODC podcasts: Script to Screen Podcast and Conversations with The Write or Die Chicks.