Category Archives: Dramatica

Story Consequences

wp602ef169_06Write Your Novel Step by Step

Go to Table of Contents

Step 43

Story Consequences

A goal is what the characters chase, but what chases the characters?  The consequence doubles the dramatic tension in a story by providing a negative result if the goal is not achieved.

Consequences may be emotional or logistic, but the more intense they are, the greater the tension.  Often it provides greater depth if there are emotional consequences when there is an external goal, and external consequences if there is an emotional goal.

Your novel might be about avoiding the consequences or it might begin with the consequences already in place, and the goal is intended to end them.

If the consequences are intense enough, it can help provide motivation for characters that have no specific personal goals.

In this step, describe the consequences that will occur if the characters in your story fail to achieve the story’s goal.

Plot Requirements

wp602ef169_06Write Your Novel Step by Step

Go to Table of Contents

Step 42

Plot Requirements

The success or failure in achieving the goal is an important but short moment at the end of the story.  So how is interest maintained over the course of the story?  By the progress of the quest toward the goal.  This progress is measured by how many of the requirements have been met and how many remain.

Requirements can be logistic, such as needing to obtain five lost rubies that fit in the idol and unlock the door to the treasure.  Or, they can be passionate, such as needing to perform  enough selfless acts to win the heart of the princess.

The important thing is that the requirements are clear enough to be easily understood and measurable enough to be “marked off the list” as the story progresses.

In this step, list the requirements that need to be met in order for the story’s overall goal to be achieved.

The “Influence Character” in a Nut Shell

Stories have a mind of their own, as if they were a person in their own right in which the structure is the story’s psychology and the storytelling is its personality.

Characters, in addition to acting as real people,, also represent facets of the overall Story mind, such as the Protagonist which stands for our initiative to effect change and the Skeptic archetype which illustrates our doubt.

Yet in our own minds is a sense of self, and this quality is also present in the Story Mind as the Main Character.  Every complete story has a Main Character or the readers or audience cannot identify with the story; they cannot experience the story first hand from the inside, rather than just as observers.

This Main Character does not have to be the Protagonist anymore than we only look at the world through our initiative.  Sometimes, for example, we might be coming from our doubt or looking at the world in terms of our doubt.  In such a story, the Main Character would be the Skeptic, not the Protagonist.

Any of the facets of our minds that are represented as characters might be the Main Character – the one through whose eyes the readers or audience experience the story.  And in this way, narratives mirror our minds in which we have a sense of self (“I think therefore I am”) and it might, in any given situation, be centered on any one of our facets.

Yet there is one other special character on a par with the Main Character that is found within ourselves and, therefore, also within narrative: the Influence Character.

The Influence Character represents that “devil’s advocate “ voice within ourselves – the part of ourselves that validates our position by taking the opposing point of view so that we can gain perspective by weighing both sides of an issue.  This ensures that, as much as possible, we don’t go bull-headedly along without questioning our own beliefs and conclusions.

In our own minds, we only have one sense of self – one identity.  The same is true for narratives, including fictional stories.  The Influence Character is not another identity, but our view of who we might become if we change our minds and adopt that opposing philosophical point of view.  And so, we examine that other potential “self” to not only understand the other side of the issues, but how that might affect all other aspects or facets of ourselves.  In stories, this self-examination of our potential future selves appears as the philosophical conflict and ongoing argument over points of view, act by act.

Ultimately we (or in stories, the Main Character) will either become convinced that this opposing view is a better approach or will remain convinced that our original approach is still the best choice.

No point of view is good or bad in and of itself but only in context.  What is right in one situation is wrong in another.  Situations, however, are complex, and often are missing complete data.  And so we must rely on experience to fill in the expected pattern and to project the likely course it will take.  Entertaining the opposite point of view shines a light in the shadows of our initial take on the issues.  Psychologically, this greatly enhances our chances for survival.

This is why the inclusion of an Influence Character in any narrative is essential not only to fully representing the totality of our mental process but to provide a balanced look a the issues under examination by the author.

Dramatica: How We Did It!

New on Kindle for $2.99

41m15cA0J1L._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA278_PIkin4,BottomRight,-65,22_AA300_SH20_OU01_

Over the years people have asked how we came up with such a behemoth of a theory. When I hit 60 I figured I better spell it all out before nobody ever knows! So here it is, step by step, epiphany by epiphany (try saying that five times fast) – the unedited unvarnished truth about Dramatica’s origins and the not-quite-right parents who gave birth to it.

Narrative Dynamics (Part 4)

Excerpted from the book, Narrative Dynamics

The Dramatica Model

In this book, I’m documenting the development of a whole new side of the Dramatica theory – story dynamics.

Dramatica is a model of story structure, but unlike any previous model, the structure is flexible like a Rubik’s Cube crossed with a Periodic Table of Story Elements.  If you paste a story element name on each face of each little cube that makes up the Rubik’s Cube, you get an idea of how flexible the Dramatica model is.

That’s what sets Dramatica apart from other systems of story development and also what gives it form without formula.  Now, imagine that while the elements on each little cube already remain on that cube, they don’t have to stay on the same face.  In other words, though there will be an element on each face, which ones it is next to may change, in fact will change from story to story.

What makes the elements rearrange themselves within the structure?  Narrative Dynamics.  Think of each story point as a kind of topic that needs to be explored to fully understand the problem or issue at the heart of a story.  That’s how an author makes a complete story argument.  But, just as in real life, the order in which we explore issues is almost as important as the issues themselves.  At the very least, that sequence tells us a lot about the person doing the exploring.  In the case of story, this is most clearly seen in the Main Character.  So, the order of exploration of the issues by the Main Character illuminate what is driving him personally.

The Dramatica model already includes a number of dynamics that describe the forces at work in the heart and mind of the Main Character, as well as of the overall story, the character philosophically opposed to the Main Character and of the course of their relationship as well.  But, in a structural model – one in which the focus is on the topics and their sequence, there are a lot of dynamics that simply aren’t easily seen.

For example, you might know that in the second act, the Main Character is going to be dealing with issues pertaining to his memories.  But how intensely will he focus on that?  How long will he linger?  Will his interest wane, grow, or remain consistent over the course of his examination of these issues.  From a structural point of view, you just can’t tell.

And that is why after all these years I’m developing the dynamic model – to chart, predict and manipulate those “in-between” forces that drive the elements of structure, unseen.  Part of that effort is to chart the areas in which dynamics already exist in the current structural projection of the model.

Read Narrative Dynamics

Available in Paperback and on Kindle

Narrative Dynamics (Front Cover)

Dramatica Tip 1 – A Better Place to Start

DSE

 

 

wp477cc478_06Both Dramatica Pro (Windows) and Dramatica Story Expert (Mac) are geared toward diving right into your story’s structure and making structural choices. But for more intuitive writers this can cause major problems.

While Dramatica Pro has a “Start Here” button on the opening screen and Story Expert has a “New User” section in the opening splash screen options, DON’T GO THERE!!!

Each of these puts you directly onto a path to build your story’s structure by answering a series of questions about your story and your intent as an author and that can scuttle your story development efforts right out of the gate.

This existing approach was intended to show the power and usefulness of the interactive patented Story Engine at the heart of both programs.  But an unfortunate side effect is that it also makes Dramatica appear to be incredibly complex and unfamiliar, and also requires an steep learning curve before you get comfortable with the system.

What’s more, when  questions are asked such as “What is your Main Character’s Domain?” or “What is the Relationship Throughline’s Catalyst?” it is almost sure to frustrate many authors who are excited by their subject matter and ideas and just want to get started developing and improving their stories.

Dramatica - Story Points WindowFortunately, there is a better place to start: the Story Points Window.  The Story Points Window lists all the structural elements in your story with a space to illustrate how that element will appear or come into play in your story.  This ensures that there are no structural holes caused by forgetting to include an important point.

Normally the Story Points Window is used after you have already created a structural storyform using the Story Engine, and then can refer to each story point and work out how to implement it in your story.  But, again, this puts structure before creativity and flies in the face of the excitement and enthusiasm of getting on with your writing.

So, the tip is to begin with the Story Points Window before making even a single structural choice!  Here’s how you do it:

First, open the Story Points Window from the desktop in Dramatica Pro or from the tool bar icon in Dramatica Story Expert.  You will find that it contains the names of all the story points tracked by the Story Engine, but doesn’t yet have the structural choice you made listed.  (See picture above)

The first column shows the name of each story point.  The second column will list your structural choice for that story point when you eventually make it.  The third column provides a definition of each story point.  The fourth column is where you would normally illustrate how each story point will show up in your story – but we’re going to do it differently….

Start at the top of the list of story points.  The first story point is called Resolve.  Its definition reads, the ultimate disposition of the Main Character to Change or Remain Steadfast.

If this story point makes sense to you in regard to your story, then in the illustration column, describe how it shows up in your story.  If it doesn’t yet connect to your story, skip it and move on to the next.

The difference from the standard way the software says you should go about things is that you don’t have to first make the structural choices directly from all the ideas you have floating around in your head.  Rather, first you focus on a story point and describe how it applies to your story’s subject matter, rather than to your structure.  Then later you’ll go back and make the structural choices, but when you do, you’ll see what you’ve already written in the Illustration column and the choice will be much easier to make.

As an example of this, you’ll come across a story point called Overall Story Domain which is defined as the general area in which the Overall Story’s problem resides.  If you do it Dramatica’s way, you are asked to choose which of four items best describes your Overall Story’s Domain: Situation, Activity, Attitude or Manipulation.

Now that can be a tough choice to make if you haven’t studied exactly what each of these terms means.  And trying to get into a mind set where you can sort through all the material you have swirling around in your head about your story to find the answer to that question can sometimes be impossible.

But if you forget about the actual structural choices until later and instead just describe in plain language the general area in which the Overall Story’s problem resides you might write something like, My story’s problem is about traveling to the underworld to recover a talisman that will prevent an alien invasion , then later it will be a lot easier to say, “Well, that is more an Activity than a Situation, Attitude or Manipulation.”  Entering the subject matter first makes the structural choice easier later.

So, go through the entire list of Story Points and when you reach the bottom, go through the list one more time and see if you can now write something about the story points you left blank the first time around.  Why?  Because sometimes the process of organizing your thoughts and getting your ideas out of your head is enough to open new insights.

Once you’ve filled in all the illustrations you can, then go to the Story Guide which is the step by step set of structural questions.  You can find it as a button on the Dramatica Pro desktop or in the tool bar icons in Story Expert.

Now, when you go to a structural question, instead of having to face it directly, you’ll find that the illustrations you put in the Story Points window automatically show up on each structural question.  So, you can refer to that material and make the structural choice that best describes it.  And, of course, you can also revise your illustrations as you go – as you come to know your story better.

Using this method, you’ll never have to run into the wall of structure, but can follow your Muse and then describe what she had told you.

Dramatica: The “Lost” Theory Book

Dramatica: The “Lost” Theory Book

Read it free online at

http://storymind.com/articles/page15.htm

Before the final version of “Dramatica – a New Theory of Story” there was an earlier draft that contained unfinished concepts and additional theory that was ultimately deemed “too complex”. As a result, this material was never fully developed, was cut from the final version of the book, and has never seen the light of day — until now! Recently, a copy of this early draft surfaced in the theory archives.

Included in this “lost” text – 24 new archetypal characters beyond Dramatica’s “official” 8 archetypes, an exploration of the character justification process, exploring the chemistry of characters, plus alternate explanations of the Story Mind concept, origins of the Story Mind, Objective and Subjective Characters and more!