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I think I might re-read some Jane Austen soon. You know that mood? Jane Austen was funny and romantic. Emma Thompson’s take on her was the best of any screenwriter yet, I’d say. So what’s the trick to, you know, titrating two different emotions like that?
Let’s imagine that you’re writing a spec for a comedy with heart or for a comedic drama. (A recent letter-writer referred to one of these as a "coma". Is that really used? It’s hilarious.) So you’re mixing jokes in with some more serious (...)