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Today’s Top Posts & Pages
- The False Narrative
- Is Story Structure Your Enemy?
- How do you create a main character who is an antagonist?
- Writing Stories About Hopes and Dreams
- What Creates Dramatic Tension?
- Atlas Shrugged - Why Did The Films Fail?
- The Four Stages of Story Development
- The Main Character and Duality
- Identifying Your Main Character
- Storytelling Trick #1 of 50
- Creative Writing
- Narrative Science
- Story Development
- Story Points
- Story Structure
- Writing Tip of the Day
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Category Archives: Dramatica Theory
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
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
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
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
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
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
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
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
A lot of people, writers included, use the words “hope” and “dream” pretty much interchangeably. Fact is, each describes a completely different way of imagining the future. Being clear not only of their definitions but of the different states of … Continue reading
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 … Continue reading