A UBC prof found his calling in writing rom-coms — and so can you
Romance is in the air — and on the page.
Zac Hug is a screenwriter who has built a career crafting romantic comedies that bring comfort, humour, and heart to audiences. He is an adjunct professor in UBC’s School of Creative Writing and the creator of Story Hug.
We spoke with Hug about his work with Hallmark, and how he is helping aspiring writers shape their own love stories for the screen with a new, non-credit online course.
How did you get started writing rom-coms?
When I worked on Shadowhunters, I met a writer named Hollie Overton who introduced me to her sister Heather, who worked for Hallmark. I said I had an idea for a Christmas movie and from there, she helped me mould it into a Hallmark Christmas movie. I wasn’t ever necessarily passionate about rom-coms, it just turned out I was really good at getting them done quickly. I keep writing them because whenever someone finds out this is what I do, they tell me about someone who watched them during recovery from surgery, or during bouts of anxiety or even a relative who watched them as they were passing away. Once I learned that these are huge events in say, nursing homes and care centres, I was sort of hooked. What could be a more important use of my time and skill?
What makes rom-coms unique compared to other scripts that you write?
I think the world is looking to be entertained. Rom-coms are great when you want to sit down and watch something that isn’t going to challenge you too deeply. It helps the brain rest. And I mean, look around, the world’s a mess. You’re allowed to take breaks, y’know?
What makes your new course useful for learners who want to break into rom-coms?
We designed it so someone could take it and finish with a draft of something they’re really proud of. A writing sample really is the major step in breaking in. Showing not just that you can finish something, but that you have this unique voice and you know how to land a joke, write romance on the screen, or tell a reader what to imagine — that’s so important. The course is designed for students to write a few drafts. They can go back and watch the lectures again. My hope is that people will introduce themselves to each other in the comments sections and find writers’ groups to keep writing with. I am always surprised how many people just need to have something explained, and suddenly they’re off to the races to write something amazing.
Do you have any advice for people who want to write rom-coms?
If you like a movie, find the script online and read it. You will be shocked by how much you learn. Mainly, though, my advice will always be: “get to the end.” I genuinely believe writers do themselves a disservice by trying to get something right before they get it finished. Learning to finish work is entirely what launched me into the world professionally. It’s a small shift in thinking that yields the biggest results. Get to the end of as many drafts as you can, as many times as you can. If you don’t, you end up with a beginning that’s overwritten and an ending that’s only half-thought-out. Get to the end!
What are some rom-coms we should all watch immediately?
My favourites are the ones that break the mould but still adhere to the form. Harold and Maude is so good at this. He’s in his early 20s, she’s turning 80, and they fall in love. It’s such a weird musing on life and death — it’s beautiful. I will always love Crazy Rich Asians because it is so big and colourful and brash and moves so quickly. The course has a whole lecture on its structure because the script is crafted so beautifully. I also really liked Palm Springs with Andy Samberg and Cristin Milioti. It’s such a clever take on a time loop and pays off in how funny it is over and over.
