It’s the same old story: a boy writer gets big advance for his promising first novel, develops writers block, becomes a klutz, and subsequently can’t pee in public restrooms. Then klutz boy meets pretty girl and falls in love, but girl is fiancee of his friend who asks him to be best man at the wedding. Awkward hijinks ensue until finally, klutz boy kisses pretty girl and finishes book.
If we are to believe in this movie, and many others like it, then surely the cure for writer’s block is love, with the best results achieved by falling in love with a movie star. In Stuart Townsend’s case, this love unleashes not only a massive flow of words, but a considerable flow from his kidneys as well.
It is true that early success with writing will not infrequently result in a block. It’s as if the writer’s self concept has not evolved enough when the notoriety explodes, and the psychological pressure to meet the heightened expectations becomes too great. In these cases, an internal, self-protective mechanism is activated that shuts down the whole writing operation to prevent the anticipated failure and humiliation.
The breakthrough scene from his three year writing drought involves the ghostwriting of a love letter in behalf of his scoundrel friend. This rather obvious ripoff of Cyrano de Begerac works because he is finally expressing his true feelings, albeit unbeknownst to the fiancee and this, evidently, is the magic key to the writing kingdom.
While it’s true that unexpressed emotion can interfere with writing productivity, I still don’t understand why were we made to watch Stuart Townsend do so many pratfalls in the first hour of the movie. In my experience, most blocked writers, despite their distress, are quite able to walk without falling down in mudpuddles or colliding into actresses. I suspect that the movie’s costar, Amy Smart, betrayed her last name when she decided to accept a role in this film.