Category Archives: Dramatica Theory

Using Dramatica for Interactive Fiction (IF)

My response to a Dramatica user who asked about the applicability of the theory for creative interactive fiction narratives: Here’s the gist of using Dramatica for IF (we have made a number of presentations on this to various companies over … Continue reading

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Early Dramatica Concept Drawing of Quads

For you theory groupies, here’s a drawing I did back in 1991 or so to help Chris and myself get a better understanding of what quads really were and how they related to one another in a fractal manner.

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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 … Continue reading

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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 … Continue reading

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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 … Continue reading

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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 … Continue reading

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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 … Continue reading

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Dramatica Theory (Annotated) Part 3 “Grand Argument Stories”

Excerpted from the book, Dramatica: A New Theory of Story The question arises: Is telling a story better than telling a non-story? No. Stories are not “better” than any other form of communication — just different. To see this difference … Continue reading

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Dramatica Theory (Annotated) Part 2 “Communication”

Excerpted from Dramatica: A New Theory of Story The process of communication requires at least two parties: the originator and the recipient. In addition, for communication to take place, the originator must be aware of the information or feelings he … Continue reading

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Dramatica Theory (Annotated) Part 1 “A Place to Start”

Excerpted from Dramatica: A New Theory of Story (Annotated) Mastering the craft of writing requires a skill in communication and a flair for style. Through communication, an audience receives meaning. Through style, an author achieves impact. The Dramatica theory of story … Continue reading

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