10 Things Every Writer Can Learn from Iron Man 3

Iron-Man-4T.J. Barnard of WhatCulture! has written another great “10 Lessons” article. This one is about Iron Man 3, which was penned by the infamously well-paid Shane Black. Here’s a snippet of what Barnard has to say:

Iron Man 3 probably wasn’t the movie people were expecting, though: in an age where movie-goers are willing to embrace the idea of a serious and (at times) terribly bombastic Batman, you might have expected Marvel to poise one of their most popular superheroes similarly. Not so: Iron Man 3 emerged as one of the silliest superhero movies for a long time, and – for once – I mean that as a genuine compliment.

In the build-up to the release of Marvel 7th installment in its Cinematic Universe, the marketing department seemed intent on pushing this chapter as a darker, more existential outing – we were given a few glimpses of Tony taking a beating and dragging his broken armour through a bleak, snowing terrain. And yet Iron Man 3 is certainly the funniest Marvel movie yet, a sequel willing to embrace and subvert its comic book origins at once. And it’s a blockbuster in every sense of the word. As for the angst? Not so much. Dark Knight Rises it ain’t.

All this falls to the movie’s screenwriter (and director) Shane Black, whose trademark dialogue and action chops always seemed like a perfect fit for Robert Downey Jr.’s frantic verbal wit and ironic sensibilities. For this article, I’m going to delve into Black’s screenplay for Iron Man 3 to see what handy tips we can take from it, both good and bad. Black, of course, was (and is once again) one of Hollywood’s hottest screenwriters – he was paid record sums for his scripts for The Last Boy Scout and The Long Kiss Goodnight in the ’90s.

Here’s a man who really, really knows how to write a spec. He’s also happens to be one of my favourite screenwriters. Let’s see what we can learn from him, shall we?

Read all ten lessons at WhatCulture!

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