This is Story Fanatic, a collection of articles covering story structure and analysis for
creative writers. Published weekly.
Dramatica is the story theory to beat all other story theories. Based on the simple idea that every complete story is really an analogy to a single human mind trying to solve a problem, this revolutionary understanding explains what makes great stories so compelling. To learn more about this theory in detail, be sure to visit the Dramatica website.
Understanding how conflict plays out within a complete story allows a writer the opportunity to dive into relatively untouched areas of storytelling. Instead of focusing on the well-worn paths of how a character looks or what they think, the adventurous author takes their Main Character into the realm of deficient psychology. In other words, they write personal journeys of struggle against how a character thinks and comes about conclusions.
Stories that mean something have something important they want to communicate. This message, or purpose, can only be heard when it respects the human mind and its engine for appreciating conflict. This is what it means to naturally structure a story – naturally structure it in such a way that it matches the psychological structures found within the minds of a waiting Audience.
Too many times the focus of story analysis centers on a set of rudimentary, yet familiar beats. By setting their sights on this checklist, many a writer unknowingly falls into writing a very familiar pattern of conflict. Keying in on the type of conflict within the story helps avoid this unfortunate consequence.
Once one begins to look at stories as models of the human mind trying to solve a problem, certain patterns begin repeating. While understanding this pattern in no way shape or form guarantees a successful writing endeavor, it does tend to illuminate the reason why so many films feel the same. Those stories that seem like they’re treading familiar ground? They often are, at a very deep level.
Effective stories grant an audience several different points-of-view on the problem at hand. But due to the inherent “warping” effect different perspectives can have on a subject, it is also essential that a story take into account all the different permutations a story can take. One theory of story provides an Author with the tools necessary to complete this task.
Most writers write because they have something important to say, something that can’t be communicated in a tweet or an e-mail or a well-meaning blog post. They use character, plot, theme and genre to convince their audience of the message they wish to impart. If instead their purpose is to merely provide an experience or cinematic tone poen then what they are writing is not a story, but rather a tale.
Can a computer program accurately predict the choices an Author would make during the development of their story? If the choices were made in the spirit of writing something meaningful and coherent, then the answer would be yes. Dramatica, an application built upon the mind’s problem-solving processes, makes story structure a fascinating and magical area of exploration.
Conviction misinterpreted as supremacism defines the plight of all those enthusiastic towards a better world. If there is a way stories can provide greater resonance for a hopeful audience, why not proclaim it? Fanaticism and passion. Equals in a world entrenched in outdated and outmoded techniques.
Why is it many can be so quick to brush off a particular understanding of story structure? Having their trust so completely eroded by those who came before, those who tried and failed to explain the real purpose of story, many would rather stick their head in the sand than experience further disappointment. The time may have come for those individuals to dip their toes in the water once again.
Countless books and endless Internet sites proclaim the somewhat magical power stories have on us. Arcs of transformational journeys and belabored spiritual catharsis have become the cornerstones from which a gross misunderstanding of story structure has grown. The time has come for a new approach, one that holds true for every member of the Audience.
The Dramatica theory of story is not simply a tool for analysis. When one understands the concepts within, a whole world of narrative possibilities opens up. What many see as a confusing mishmash of pseudo-Jungian gobbledygook, actually becomes a springboard for creative writing that engages and enlightens an Author on what they’re really trying to say.
Telling a complete story requires an understanding of human psychology heretofore unfound within the collective teachings of the previous century. It is not enough to simply pattern match successful films. In order to truly connect with an audience, to infuse them with some greater meaning, there must be an initiative on the part of authors everywhere to grab hold of a theory built upon the thought processes of the human mind.
Aristotle had his time. So too did the screenwriting gurus of the 80s and 90s. But when it comes to storytelling in the next one hundred years, there is one clear winner – one clear solution for creating meaningful fiction in a time of massive distraction.
A detailed look at the thought process I went into while analyzing I Am Legend.
The keys to serving up that dish best served cold.
Link to free instructional clips.
Explaining certain aspects of the Dramatica theory of story.
Sometimes it’s best to have a little faith…especially if it helps you write a better story.
Why the Dramatica theory of story helps to combat this unfortunate occurrence.
The possible dangers in following the rules of a revolutionary story theory.
A unique and interesting take on how to write creatively with the Dramatica theory of story.
Some examples of the Dramatica theory of story being used in feature-length screenplays.
Dramatica helps to make sure that both your head and heart are in sync.
A look at Dramatica, OneNote and MindManager and their ability to aid the writing process.
A very detailed look at the story structure behind one of the X-Files’ greatest episodes.
Could be there be evidence in an X-Files episode that suggests the use of Dramatica?
A look at the Dramatica definitions of these seldom used story elements.
Seems more than one person thinks this revolutionary theory of story has some sort of religious implications.
Using the Dramatica theory of story to identify the holes present in this classic film.
An interesting exploration of the similarities between deep story theory and personal productivity paradigms.
The ultimate most important element of any story.
Our natural ability to easily shift contexts makes it difficult to keep a story consistent in its meaning.
How story theory can make sure you have all the pieces.
Is it possible that a Main Character could have a significant relationship with another character in a story?
A solid explanation of how I look at stories and where this site is coming from.
Tips on how to use Dramatica to write short stories.
Techniques to free up what might seem like a rigid tool for writing stories.
I can.
Structural explanations for why different cultures tell different stories.
For the longest time, I have always been the type of writer who likes everything spelled out in advance - mostly with the help of Dramatica. But lately I’ve been reconsidering this approach.
Silly conjecture.
Part of the reason we keep coming back to stories is because they offer us something we can’t get in our own lives.
Plain and simple: Dramatica can help you write something you’ve never written before. It can help you find a story you never knew was inside you.
You do not have to fully understand all that Dramatica offers.
There are some very interesting relationships in Dramatica that aren’t covered in the manual or in the software itself.
Continuing the discussion about the differences between Dramatica and other theories…
Chris has written an amazing article comparing Dramatica to other, more familiar story theories proposed by Robert McKee, Christopher Vogler, and Syd Fields.
Discussion regarding the use of software aimed to help you write a story.
Here is a very interesting essay on how stifling Dramatica can be to your creativity. As is usual, it doesn’t have a lot of nice things to say about the program or the theory:
In the latest issue of Creative Screenwriting (Volume 12, #5) Editor-In-Chief Den Shewman opens up with a great piece about not “thinking so much” when it comes to writing. But this goes against all that Dramatica stands for!
Found an interesting discussion about the usefulness of the Dramatica theory of story.
As if by fate, the same week I decide to really put forth an effort to start writing again and put more of an effort behind this blog, I come across two posts discussing the pros and cons of using story structure software like Dramatica.
Struggling to get back to my own writing (after a very long bout of writer’s block), something struck me as being very beneficial about Dramatica.
More details on what Dramatica is, and is not.
Reviews of “The Corpse Bride” and “Serenity” are now online.
An interesting use of Dramatica to explain sentence structure.
Ever wonder why the Dramatica theory of story only asks twelve?
As with all things Dramatica, the Main Character Dynamics (Resolve, Growth, Approach and Mental Sex) can be seen as relating together in a single quad.
Development of the Dramatica theory of story.