academic

Once Upon A Post-It Note.... [Academic Musings]

Do you ever go back and go through your past academic writing? It’s crazy for me to look back on old papers that I’ve written to see how I’ve evolved as a writer. In some ways, I’ve certainly “improved.” Other ways, I think it’s hard to say something is an “improvement” when it’s really a change in writing voice.

Anyway, I once wrote up the history of Post-It Notes for a Mass Media Communication class. It was one of my favorites.

 Post-It Society, Courtesy of 3M

Katy M. Hannah

           3M was one of the first companies to made "a deliberate decision to give its people the time and resources to be creative:  any technical staffer can spend 15% of his or her time working on their own projects, using company resources." (Marketing).  Spencer Silver was a senior chemist working for 3M in the late 1960's (about).  In 1967, Spencer Silver was working on creating a super-strong adhesive glue when he came up with a glue with a granular texture which did not stick to surfaces permanently;  in essence, he succeed in creating a glue with properties completely opposite of what he intended (nytimes).  3M could find no practical use for the substance.  Then in the early 1970's, they introduced a product called the Post-It Bulletin Board, which they hoped would replace traditional cork boards; however, it was a flop due to the fact that dust and hair also stuck to the board, not just scraps of paper (nytimes).  It was not until 1976, when another 3M scientist, Arthur Fry, decided to put the adhesive on the backs of paper scraps.  Fry sang in his church choir, and he used bits of paper to mark songs in his hymnal, but became frustrated because the pieces of paper kept falling out (Marketing).  He came up with the idea to put Silver's adhesive on the back of his bookmarks, and thus the Post-It Note was born.

           Marketing at 3M was skeptical of Fry's idea, because the product would be many times more expensive to buy than simple scraps of paper.  In 1977, post-its were market tested, with a luke-warm reaction; however, a year later, in Idaho, 3M distributed free samples to four different companies, and 90% of the company workers said they would  buy the product (nytimes).  According to a London-based magazine "Marketing," a 40-50% intent to reorder is extremely high, so a 90% intent to reorder completely removed any skepticism about the possible success of the Post-It Note (Marketing).  They officially launched the product nationwide in 1980, though they continued giving out free samples to Fortune 500 companies (post-it.com).

           The first post-its were 2 7/8 square inches and yellow; a few years later, they introduced the rest of the basic color pallette.  In 1987, Post-it Flags were introduced.  They were the newest thing in organization, serving people as bookmarks, notebook tabs, and helping usher in an era of color coordination.  In 1994, 3M introduced Post-It Easel Pads, which is basically a giant sticky note pad on an easel, which is great for presentations and can even be used as interesting teaching tool.  The geniuses at 3M then released Post-it Pop-up Notes in 1991, which took the classic sticky note and alternated the sticky part of the note to opposite ends on each consecutive note, making them form a sort of accordion (kind of like tissues in a box).  In conjunction with these notes, they came out with dispensers.  Now, if you go on their website, many different colors and variety of dispensers exist for your pleasure.  This was a great marketing ploy for 3M because they began selling the Pop-up Notes as well as dispensers.  People began buying more and more expensive Post-It Products.

           The next release from 3M more than ten years later in the form of Post-it Super Sticky Notes, which promise to stick to more difficult surfaces.  Their ad campaign for this product was brilliant, and produced some of the most memorable commercials of all time.  In one post-it super sticky note commercial, a jack russel terrier goes after a note on the wall with a bone drawn on it, bites it, and instead of the note coming off the wall, the dog remains suspended in the air because of the adhesive power of the note.  This type of hyperbole is really unnecessary for 3M post-it products, because post-it products have permeated pop culture so thoroughly.  Like Kleenex, we barely acknowledge that Post-it is actually a brand name.

           Recently, 3M has come out with the Post-it Labels, Post-it Greener Notes , and Post-it Flag Highlighters in 2009, and Post-it Laptop Note Dispensers were only released last year.  None of the Post-it product releases have been as big as the original sticky note.   (Post-it.com)

           The sticky note entered into our lives as one of the first products for which there was no discernible need.  People had gotten by without sticky notes for thousands of years, so 3M had great reason to procrastinate on the products launch, because they had little reason to believe that people would buy something they did not really need.  America, as a consumer society was still in its infancy in the late 1970's, and people were more apt to save their disposable income or spend it on products they were familiar with.  Post-its were an office supply, but 3M had no idea that they would become so much more.  In current times, Post-it notes have become a popular form of communication, a great way to post personal reminders, a great planning tool, and a funny reference in movies and television.  In the television show Sex and the City, Carrie Bradshaw, the main character, was broken up with by her boyfriend via a Post-it Note saying nothing more than "I'm sorry, I can't.  Don't hate me."  Playing a less depressing role in the lives of television characters, in the tv show "Grey's Anatomy," the main characters Meredith Gray and Derek Shepherd opt to get married on a sticky note instead of taking time from their jobs to go to city hall.  In a more traditional role, sticky notes can be found on the desks of the characters in the hit tv show "The Office," "Glee," and other tv shows set in offices or schools.

           Post-it Notes have become something we think we need.  At the beginning of each school year, I guarantee that this product is on the lists of many students and professors, along with their essential binders, notebooks, pens, pencils, and the less essential laptop covers, phone cases, personalized stationary, designer book cases and agendas, and newest trend clothing.  If I were to label an invention that truly helped shaped the American psyche into a truly materialistic society, I would say that the innocent-looking Post-it is one of many culprits.  Of all the desires one could have for something they don't need, the Post-it is one of the least expensive.  Nowadays many people do not think they could survive without internet connected phones.  Before that it was cell phones in general,  the internet, landlines, all the way back to the first televisions, radios, even Morse code.  As life becomes more handy, we stop believing that we could go back to the way life was before modern convenience.

           Though it helped usher in the age of consumerism, and competition for cutting-edge office supplies, the post-it will always have a place in the hearts of the American consumer.  It is a unique product fully developed by an American company using American innovations.  Even the ideals which led to the development of the adhesive- giving employees company time and resources to work on personal projects- was a uniquely 3M idea, and thus an American idea.  Now, companies hire people to basically think up new innovations and invent new products as their jobs!

           The Post-it may have helped usher in an age of consumerism, and helped make people believe that we need things that we do not, but it is still at its core, an invention which made our lives little bit more convenient.  It is a product that simply gave us a little yellow piece of paper with a bit of weak adhesive on the back, making it perfect for posting inspirational messages on people's lockers, writing down notes about homework, proposing marriage in a cute way, breaking up with people in an impersonal way, and even making pixelated art work.  It is the God-given little sticky note of Spencer Silver and Arthur Fry.

Works Cited:

  • Anonymous. "Convenient Dispenser for Post-It Notes; Battery Operated Label Maker."             The CPA Journal Vol. 21, Iss. 61 (1991): pg. 61.  Proquest.

  • Anonymous.  "Post-it:  How a maverick got his way."  Marketing  Oct 28 (1993): pg. 31.             Proquest.

  • Bellis, Mary.  "Post It Note: Arthur Fry invented the post it note but Spencer Silver         invented the glue."  inventors.about.com.  About, n.d.  Web.  22 February, 2011.

  • Havener, Cliff.  "An Insider's guide to the Post-It Story."  Management            Review Vol.   83, Iss. 12 (1994): pg 45.  Proquest.

  • Newman, Anderew N.  "Turning 30, an Office Product Works at Home."  The New York       Times 27 July, 2010.  NYTimes.com.

  • Sloane, Lucas.  (1999, February).  Post-It sets nutty ad.  Brandweek, 40(5), 8.                   Retrieved February 21, 2011, from ABI/INFORM Global.  (Document ID:                 38787855).

  • "The Thirty-Year Stick:  How Post-It Notes Have Stuck to Our Culture And History."             newsweek.com.  Newsweek, n.d. Web. 22 Feb. 2011.

Literary Tool Kit: Romantic Comedy

This is the first of a series of blogs wherein I work to create a “literary toolkit” on writing the Romantic Comedy screenplay. This is adapted from an assignment I worked on for my graduate degree at SNHU.

I selected two romantic comedy screenplays, analyzed and compared them, and from this, I have created this "writer's toolkit." I selected a 1959 film by Billy Wilder and I.A.L. Diamond, "Some Like It Hot," and 2008’s “Forgetting Sarah Marshall.” By picking a classic, Hay's Code Hollywood film and a contemporary romantic comedy, I have identified the differences between the two scripts, as well as the storytelling elements, literary conventions, and themes of this particular genre which have persisted through the evolving film landscape.

My reasons for picking these two films are multifaceted. First, these two scripts were available. Through the process of searching for screenplays, one will make this realization quickly. Transcripts for almost all films are readily available, but if you want the originals, these are much more difficult to find. Especially because scripts are never “finished.” Once a screenplay is optioned for a film, it is alive again and edited into different versions. If you are able to find the original script, it is almost always going to show some differences from the film version. The two scripts I’ve found appear to be originals, not shooting versions, which is why I’ve settled on them. 

Of course, I also enjoy both of these films. Amongst a list of screenplays I searched for, I’m very happy that these two were available. The differences in the two films are indicative of how time has changed the genre. This is something by which I am fascinated, as I adore romantic comedies. When life is crapping on you, when you need a boost, when you need your faith returned in humanity, “rom-coms” are there. In terms of bringing people joy, there are few genres where you’re guaranteed to be able to do this than in rom-com. Sometimes I want to write and consume things that are deep and important and study difficult situations. Other times I want to write and consume comfort. Rom-com is the mac and cheese of film.

The literary conventions of this genre are easy to identify. Misconceptions and miscommunications are frequently central to the conflicts of these films. Opposites always attract and make for great comedy and chemistry. And people never know what they want. The woman might have a list of things they’re looking for; the man may write of a “certain type” of woman. But through the magical process of falling in love, the characters always discover what they really want. These conventions haven’t changed in too many major ways since the conception of the genre; however, there are certainly culturally-related conventions that have changed since the 1950’s. Working women are much less frequently represented as quirky shrews who need love to soften them, as can be seen in quite a few of Doris Day’s films, most notably 1961’s Lover Come Back (one notable exception to this would be the films of Sandra Bullock -- Miss Congeniality, The Proposal, etc). Now, women in rom-coms almost always have jobs, and some are even career-driven. Plus, it’s no longer implied that marriage leads to the ending of a career and the beginning of a domestic life.

The cultural differences between the 1950’s and today might be pretty drastic, but the process of falling in love hasn’t changed all that much. It’s a major part of the human condition, and always fun to watch, whether the pair is meeting as members of competing advertising firms, or through an online dating app. Through my research and analysis of my two chosen texts, I plan to read some journal articles about the topic, thoroughly read the scripts for these films, watch the films themselves, and perhaps even check out some other entries into the genre that are generally regarded as trope-breaking.

I adore romantic comedies. When life is crapping on you, when you need a boost, when you need your faith returned in humanity, “rom-coms” are there. In terms of bringing people joy, there are few genres where you’re guaranteed to be able to do this than in rom-com. Sometimes I want to write and consume things that are deep and important and study difficult situations. Other times I want to write and consume comfort. Rom-com is the mac and cheese of film.

Works Cited

  • “Some Like it Hot.” By Billy Wilder and I. A. L. Diamond, directed by Billy Wilder, Mirisch Company, 29 March 1959.

  • “Forgetting Sarah Marshall.” By Jason Segel, directed by Nicholas Stoller, Apatow Productions, 18 April 2008.

  • “Lover Come Back.” By Staley Shapiro and Paul Henning, directed by Delbert Mann, Universal Pictures, 20 December 1961.

  • “Miss Congeniality.” By Marc Lawrence, Katie Ford, and Caryn Lucas, directed by Donald Petrie, Castle Rock Entertainment, Village Roadshow Pictures, NPV Entertainment, and Fortis Films, 22 December 2000.

  • “The Proposal.”  By Peter Chiarelli, Touchstone Pictures, K/O Paper Products, and Mandeville Films, 19 June 2009.

Screenwriting Analysis of Classic and Contemporary Work

Screenwriting has not changed much in the century during which it's been developed. Sure, some of the conventions have changed, and of course, vernacular has changed since the early 1900’s, but in terms of form, not much has changed. A major contributor to this is time. Just as few songs have broken into radio fame when outside the 3-minute standard length, the vast majority of feature films are 1.5 to 2 hours in length. (Yes, both films and songs can be argued to have gotten longer over the years… but it’s not by much. See Allain 2014 and Follows 2019).  The reason that screenplay length is so standardized is because pages are directly correlated to time. Each page generally equals one minute of screen time, so space is at a premium in the format. As a result of this, unlike stage plays, screenplays do not include stage (or camera) direction unless it is absolutely vital to tell the story. Why waste space directing? That’s someone else’s job.

In the service of space-saving, several additional storytelling conventions have arisen in the screenwriting craft. Style takes second place to function. Setting is established upfront in scene headings that generally do not go exceed a single line. There are, of course, exceptions to this rule. In the beginning of both Forgetting Sarah Marshall and Some Like It Hot, a much more extensive scene description is included in the action at the very opening. This serves the purpose of establishing tone and temporal setting upfront. Some Like It Hot performs this especially well in its first line. It establishes the setting, the period, and the time of year in its first action sentence.

CITY AT NIGHT

A hearse of Late Twenties vintage is proceeding at a dignified pace along a half-deserted wintry street. 

I would argue that the opening for Forgetting Sarah Marshall is a bit more clunky, but it also serves to (through omission, as it is not a period piece) establish these, as well.

INT. PETER’S APARTMENT - LATE AFTERNOON.

PETER BRETTER (26) watches television alone in his dark, creepy apartment. 

SLIT (as I will refer to Some Like It Hot from now on) has a much more prosaic style than FSM (as I will refer to Forgetting Sarah Marshall from now on). In the opening, and continued throughout the piece, SLIT continues to use more vivid descriptive terms for lengthy action sequences than does FSM. The latter is more concerned with brevity and dialogic humor. (There are also humorous physical sequences in FSM, but the humor is much more focused on dialogue and reactions even in these sequences.)

Treatment of the characters is strikingly similar in both screenplays. Characters are introduced with minimal descriptors, frequently just a name and brief descriptor. Jerry and Joe are simply introduced as musicians in SLIT. Peter is only given an age in FSM. The love interests of both films are given a little more descriptive treatment. Sugar is described as “the dream girl of every red-blooded American male” in SLIT. Rachel and Sarah are both described as “beautiful” in FSM. One can’t help but wonder if this is a vestige of Hollywood sexism wherein men can be average but women must be beautiful. Or perhaps it is simply an extension of the male screenwriters’ imagination.

The narrative structure of both screenplays introduce our conflicts early, as is standard structure for most films. The initial conflict sets our characters on their journey for the remainder of the film, and while it isn’t necessarily life-changing in itself, it drives our characters to  change their lives as their conflicts develop and intensify. Jerry and Joe have no money. They are musicians in the prohibition era. The jazz halls have closed. They’re struggling to find jobs. Thus, they find themselves working in an illegal speakeasy during a raid. The operation, of course, is shut down before they can be paid. To make things worse, Joe has a gambling problem. As the story progresses, the two literally lose the clothes off their back in the frigid Chicago winter. Desperate, they end up witnessing a mob hit and must get out of town fast. Of course, they kill two birds with one stone and hijack a job in a women’s band. It’s a complicated, but fully logical set of events that sets up a desperate situation for our main characters while also giving us time to get to know them before the true hijinks ensue.

Much more simply, Peter’s journey begins when Sarah Marshall dumps him. We are given a few pages of exploration into Peter’s character before this event occurs, but it is relatively brief. We learn that he is a slob who is mired deeply in depression. He’s not introduced as a particularly lovable character, though he is relatable, especially once he has been dumped. One especially effective detail, in my opinion, is when Peter pawns the engagement ring for Sarah, getting only $6,000 of his $24,000 back. Of course, he spends this cash on a vacation to Hawaii, where he immediately runs into Sarah… and her new boyfriend. The story progression of FSM is simple. Peter’s main enemy is himself; his own grief and attachment to Sarah is what holds him back.

The theme of each film is delivered by the narrative, of course, but neither film has much of a serious message. The object is comedy and the theme is open to interpretation, as in many effective films. “Love conquers all” works. So does “love can save you.” Or you can find a different read in each movie. The gender bending (potentially extremely controversial in the 1950’s) in SLIT could lead you to find the main theme in those storytelling aspects. Jerry’s move away from womanizer to man in love is a major progression for his character. Additionally, you can read “time heals the wounds of love” in FSM, as Peter and Rachel don’t get together until after Peter has time by himself to get his life together. You can argue on which thematic element is primary for each film, as you can argue in any good story. At the end of the day, these two screenplays tell one hell of a good story.



Works Cited

Allain, Rhett. “Why Are Songs on the Radio About the Same Length?” Wired, 11 July 2014, https://www.wired.com/2014/07/why-are-songs-on-the-radio-about-the-same-length/.

Follows, Stephen. “Stephen Follows: Film Data and Education.” Stephen Follows: Film Data and Education, 16 Sept. 2019, https://stephenfollows.com/are-movies-getting-longer/.


“Forgetting Sarah Marshall.” By Jason Segel, directed by Nicholas Stoller, Apatow Productions, 18 April 2008.


“Some Like it Hot.” By Billy Wilder and I. A. L. Diamond, directed by Billy Wilder, Mirisch Company, 29 March 1959.