Using Dramatica Pro – Part 1 (The StoryGuide)
In this initial episode, we begin on the Dramatica Desktop and take a brief look at each feature on it. First up, the StoryGuide…
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Using Dramatica in Real World Psychological Analysis
Recently, a Dramatica user sent me a series of questions about the potential use of Dramatica in real world psychological analysis. Here’s his questions and my responses: Question: If StoryMind is a model of a human mind trying to resolve an inequity (as the construct between one mind communicating to another in the communication process […]
Dramatica Theory vs. Practical Application
My response to a Dramatica consultant who lamented the gap between the theoretical concepts of our narrative model and its practical application: Yeah, its tough to get a handle on this stuff, mainly because there’s a big difference between the model and the results it produces. The model is as far away from narrative or […]
Dramatica Theory (Annotated) Part 10 “When to Use Dramatica”
Excerpted from the book, Dramatica: A New Theory of Story For some authors, applying Dramatica at the beginning of a creative project might be inhibiting. Many writers prefer to explore their subject, moving in whatever direction their muse leads them until they eventually establish an intent. In this case, the storytelling comes before the structure. […]
Dramatica Theory (Annotated) Part 9 “Author’s Intent”
Excerpted from the book, Dramatica: A New Theory of Story Simply having a feeling or a point of view does not an author make. One becomes an author the moment one establishes an intent to communicate. Usually some intrigu- ing setting, dialog, or bit of action will spring to mind and along with it the […]
Dramatica Theory (Annotated) Part 8 “Communicating Through Symbols”
Excerpted from the book, Dramatica: A New Theory of Story How can essential concepts be communicated? Certainly not in their pure, intuitive form directly from mind to mind. (Not yet, anyway!) To communicate a concept, an author must symbolize it, either in words, actions, juxtapositions, interactions — in some form or another. As soon as […]
Dramatica Theory (Annotated) Part 7 “Symbolizing Concepts”
Excerpted from the book, Dramatica: A New Theory of Story It has been argued that perhaps the symbols we use are what create concepts, and therefore no common understanding between cultures, races, or times is possible. Dramatica works because indeed there ARE common concepts: morality, for example. Morality, a common concept? Yes. Not everyone shares […]
Dramatica Theory (Annotated) Part 6 “The Scope of Dramatica”
Excerpted from the book, Dramatica: A New Theory of Story With all these forms of communication, isn’t Dramatica severely limited in addressing only the Grand Argument Story? No. The Grand Argument model described by Dra- matica functions to present all the ways a mind can look at an issue. As a result, all other forms […]
Dramatica Theory (Annotated) Part 5 “The Free Form Author”
Excerpted from the book, Dramatica: A New Theory of Story While some authors write specifically to make an argument to an audience, many others write because they want to follow their personal muse. Sometimes writing is a catharsis, or an exploration of self. Sometimes authoring is a sharing of experiences, fragmented images, or just of […]
Dramatica Theory (Annotated) Part 4 “What is a Grand Argument Story?”
Excerpted from the book, Dramatica: A New Theory of Story A Grand Argument Story is a conceptually complete story with both an emotional and logical comprehensiveness. There are a number of qualities which determine whether a story is a Grand Argument or not. These are seen in the story’s Structure, Dynamics, Character, Theme, Plot, and Genre. […]