The reason this book is so good is the author approaches script writing from a professional reader's perspective, and a historical perspective. His passion for the genre is clear. He not only knows and shares the roots of romantic comedy, he discusses the common elements af all successful movies in the genre.

This book is invaluable for someone working in this genre, but it's also relevant for all aspiring (or actively working) screenwriters. Don't be afraid to get this book if you are working in another genre. He shares insights that are relevant to all genres.

In short, this is a great book written not by an aspiring writer or someone that makes a living by only teaching, but by someone actually in the movie business that knows what works.

Mr. Mernit examines the basic components of story and character, but also provides fascinating insight to such subjects as theme. End-chapter exercises are unusually helpful and enlightening.

Critiques of a few movies show just how they accomplished what they did. (The examination of "Tootsie" is amazing!) I appreciated the breakdown of how romantic comedy in the movies has evolved through the years and am now collecting many of the titles listed in the book that I've never seen. (The recent AFI list on romantic movies is also a good source for more study.)

This book is on my shelf now right next to Syd Fields and Debra Dixon. I will certainly be referring to it again and again in the years that come.

First, it's really the only current book of its type to focus on the romantic comedy genre.

Second, it doesn't neglect screenwriting in general, yet at the same time does not overdue the details of general screenwriting, which can be had in other books.

Third, he's a good writer and knows how to keep the material moving.

Fourth, mixed in with everything else are excellent in-depth analyses of top romantic comedies. I found his analysis of Tootsie especially good. It prompted me to take out the movie and see it again but with new eyes.

Fifth, there's really a lot more in this book than I can write about in this small space, but I particularly gained from his chapters entitled "The Art of Funny" and "Being Sexy."

My one complaint is that I was not too sold on his seven part structure which all romantic comedies can be broken down into supposedly. Perhaps he's correct, but formulaic approaches just irk me. Maybe one day I'll feel differently.

Overall, though, this is an excellent book, delivering what it promises, and worthwhile to have around for rereadings in part or whole.