Good romantic comedies are the cinematic equivalent of a great first date: funny, charming, a little unpredictable — and they leave you wanting more. Bad ones are quite possibly the lowest form of art.
Given that the romantic comedy, by its nature, doesn’t require much in the way of fancy or slick direction, it is a writers’ medium. However, the challenge for screenwriters is to go beyond the cliché.
While the genre has familiar beats (the meet-cute, the misunderstanding, the grand gesture), the most memorable rom-coms twist these tropes with fresh perspectives, sparkling dialogue, and emotional truth.
Whether you’re aiming for something heartfelt like When Harry Met Sally, quirky like 500 Days of Summer, or offbeat like Palm Springs, these seven essential tips will help you craft a romantic comedy that audiences will quote, rewatch, and fall in love with.
Romantic comedies succeed or fail based on their premise — not just “boy meets girl,” but how and why they meet in a unique, funny, and emotionally charged way.
The best rom-coms begin with a situation that’s:
Such strong premises not only generate humor, they establish the central tension of the film — naturally, what keeps the couple apart.
Exercise: Try combining two opposites (e.g., a divorce lawyer who falls for a hopeless romantic). Then ask: What’s the worst situation in which they could meet?
*Which would obviously never work if the sexes were reversed.
Your audience must fall in love with both main characters — any romantic comedy might seem to be told from one perspective, but by its nature it creates a dual protagonist. Or, put another way, the protagonist becomes the relationship between the two people, which is effectively similar.
That means these two people need the following:
Romantic comedies are not about “perfect” people — they’re about flawed individuals who discover something meaningful through love. The key is to make both characters equal partners in the story. Avoid writing one character as a mere obstacle or fantasy.
Think of:
Exercise: Write a one-page scene where each character is alone, doing something that defines them. Then write the first meeting between the two: note contrast and chemistry. Remember, they don’t have to like each other–and very possibly don’t!
The “meet-cute” — that moment when your leads first meet — is a cornerstone of the rom-com genre. But the name belies the weight of this moment. The meet-cute is not about being adorable (gag me); it’s about establishing tone, conflict, and chemistry immediately.
A great meet-cute:
From the elevator scene in (500) Days of Summer to the bookstore exchange in You’ve Got Mail, these encounters are funny, awkward, poignant — and reveal important aspects of the character.
Exercise: Write down 5-10 ways to subvert expectations in your meet-cute. What if the two don’t fall for each other instantly? What if they already know each other — but don’t realize it?
In rom-coms, the laughs should emerge not just from zany antics, but from character-driven humor. The funniest moments often stem from vulnerability, awkwardness, and failed attempts to connect.
Use comedy to:
This is why Bridget Jones is a good character — her physical mishaps are funny, but only because they are rooted in emotional honesty. Comedy in a rom-com isn’t there just to entertain — it’s there to deepen emotional connection.
Exercise: Write a scene where your characters try not to reveal their true feelings — and fail, hilariously.
A great rom-com isn’t just funny — it’s romantic. And for romance to work, the tension must feel earned and meaningful. It’s not just about whether they’ll kiss; it’s about whether they’ll grow enough to deserve each other.
To do this:
Think of the central conflicts:
Let the relationship challenge both characters — but always avoid the temptation to make it toxic. You can push it remarkably far in the “toxic” direction–see Billy Wilder’s Kiss Me, Stupid–but be sure always to pull back before going over the edge.
The audience should want the couple to be together, not shout at them to run away.
Romantic comedies often end with a grand gesture — but what makes them stick is that the ending feels earned. A kiss isn’t enough. We want to know that the characters have grown.
A satisfying ending should:
The best endings aren’t just about getting together — they’re about becoming ready to be together.
In To All the Boys I’ve Loved Before, Lara Jean embraces vulnerability. In The Holiday, Iris finds her worth. These represent core emotional development. They are wins of the heart, not simply machinations of the plot.
Exercise: Write your ending scene first — then write the script leading up to it. Make sure the characters are truly ready for this moment.
Romantic comedies have a structure — but the most memorable ones play with the rules:
You don’t have to subvert the genre to stand out, but question every convention:
The goal isn’t to be quirky for the sake of it — it’s to inject truth and freshness into a genre that can feel stale when treated mechanically.
Tip: Start by writing a “traditional” rom-com outline — then go back and flip one major beat.
What makes a rom-com truly resonant is when it’s about more than just the couple. The best stories layer romance over themes like:
In each of these cases, the love story becomes the vehicle — but the message is what stays with the viewer.
Ask yourself: If this weren’t a love story, what would it be about?
Writing a romantic comedy isn’t just about landing jokes or writing kissing scenes — it’s about capturing the rollercoaster of love: the awkward beginnings, the heart-skipping moments, the miscommunications, the small victories, the grand realisations.
And just like love, it requires patience, risk, and a little magic.