Transcripts from a series of internet classes on the Dramatica theory of story.
The Story Mind
Why the Main Character does not have to be the Protagonist
Does your Main Character “change” or “remain steadfast”?
Does your Main Character grow by “starting” something or “stopping”something?
Is your story brought to a conclusion by a “timelock” or an “optionlock”?
3 Act Versus 4 Act Structure
The Story Mind: Objective and Subjective
Main Character Review: Change/Steadfast and Start/Stop
Main Character: Do-er or Be-er?
Mental Sex: Male or Female?
The Dramatica Structure
The Four Throughlines
THE FOUR STAGES OF COMMUNICATION:
Main and Obstacle Characters
Problem, Solution, Focus and Direction
Change and Steadfast Characters
When Should Characters Exhibit Characteristics?
Problem and Solution
3 and 4 act Structure
Structure and Dynamics of the Dramatica Model.
Making Dramatica Easier.
Ways to use Dramatica.
“Spin the Model.”
Objective Story Act Breaks
The difference between Protagonist and the Main and Obstacle Characters
The Subjective view of story.
Storytelling; Choosing a Main Character
Grand Argument Stories, what Dramatica sees as a “complete” story.
Story Outcome: Success or Failure? Story Judgment: Good or Bad ?
Main Character Resolve: Change or Steadfast.
The 4 Stages of Communication.
Main Character Focus and Direction
Objective Characters and Characteristics
The “Rule of threes”
An Author’s Thematic Bias
Differences between Dramatica Lite and Pro.
Dramatica Lite / Dramatica Pro
The best way tackle Dramatica’s learning curve.
Structural vs. Organic Writers
The 4 Throughlines
How the Software Works
Printing Reports in Dramatica
Differences Between Dramatica and Collaborator and Storyline Pro.
Four Stages of Communication
Is an Obstacle Character Necessary?
Change / Steadfast
Novels & Substories
4 Throughlines & Grand Argument Stories
Theme and Plot
Dramatica’s “Reception Theory”
How The Software Works
Do-ers and Be-ers
Problems Having More Than One Main Character.
Dramatica on World Wide Web
Overview of Dramatica Theory
Different Views of Story — 4 Throughlines
Plot, Signposts, Storypoints
Story Engine – How the Software Works
Differences Between Lite and Pro.
Genre & Storyforming
Genre Grid/Chart: Comedy, Information, Drama, & Entertainment
World Wide Web – Dramatica’s Home Page
Multiple Stories / Sub-Stories
Dramatica Structure: Classes – Universe, Mind, Physics & Psychology
Development of Dramatica Theory – (Mental Relativity)
Tales vs. Stories
Story Engine Choices: Dramatica can predict without being predictable.
Can you have 2 main characters?
Objective vs. Subjective views.
Main, Obstacle, Protagonist & Antagonist differences.
Narrators & Players
Objective Story Problem
Change and Steadfast Main Characters
Focus and Direction
Start and Stop
Leap of Faith vs. Non Leap of Faith Stories
Dramatica’s Concept of Theme
Attitude vs. Approach
“Remains of the Day” – Success/Bad
“Rainman” – Failure/Good
24 Scenes; 4 Variations, 6 Sequences
Main Character Unique Ability
Main Character Critical Flaw
Problem element as seen in the 4 Throughlines.
“Rainman” & “Unforgiven” ; Subjective and Objective story problem.
Outcome / Judgment
Difference Between Dramatica & Collaborator
Premise / Egri