How This Book Is Arranged


I. Dramatica & the Creative Writer

SECTION 1:
THE ELEMENTS OF STRUCTURE

II. Foundations: Central Concepts

	The Story Mind
	The Four Throughlines

Character

III. Introduction to Characters

	Hero is a Four Letter Word
	Objective and Subjective Characters

IV. Introduction to Archetypes

	The Eight Archetypes
	Complex Characters

V. Objective Character Functions

	Drivers and Passengers
	Examples from Star Wars, Wizard of Oz, and Jaws

VI. Action and Decision Elements of Drivers and Passengers

	Recap of Archetypal Characters
	Archetypal Actions and Decision Characteristics
	Archetypal Motivation Quads Examples from Star Wars, Wizard of Oz, and Jaws

VII. Placing Motivation Elements into Quads

	Grouping the 16 Motivation Elements
	Examples from Star Wars, Wizard of Oz and Jaws

VIII. Complex Motivation Characteristics

	Rules for Building Characters
	A Look at Complex Characters in Gone With The Wind and Rear Window

IX. Exploring Other Character Dimensions

	The 64 Character Elements Chart
	Mapping the Archetypal Pattern
	Examining Archetypal Methodologies
	Complex Character Dimensional Patterns

X. Subjective Characters

	Defining the Main and Obstacle Character
	The Main and Obstacle Character in the Objective Story
	The Main Character's Crucial Element

XI. Problem Solving and Justification

	What are Justifications?
	Whait is Problem Solving?
	Why we Justify
	A Simple Example of Problem Solving
	Defining the Problem
	The Justified Main Character

Theme

XII. Elements of Structure: Theme

	Describing the Story's Problem
	Chart of Dramatica Classes
	Domains
	Chart of Dramatica Types
	Concerns
	Chart of Dramatica Variations
	Ranges
	Chart of Dramatica Elements
	Problems

XIII. Domain Descriptions

	Matching Points of View to the Chart
	Objective Story Domain
	Main Character Domain
	Obstacle Character Domain
	Subjective Story Domain

XIV. Concern, Ranges and Problems

	Domains and Beyond
	Concerns
	Ranges
	Problems

XV. Deep Theme Theory

	The Thematic Argument
	Premise and the Thematic Argument
	Additional Appreciations

Plot

XVI. Elements of Structure: Plot

Plot vs. Storyweaving

XVII. Plot Appreciations

	Goal
	Requirements
	Consequences
	Forewarnings
	Dividends
	Costs
	Prerequisites
	Preconditions

XVIII. Plot Progression

	Acts (Another View: 3 Act Progressions)
	Sequences (Three Act Progressions & Four Act Progressions)
	Scenes (What's in a Scene? & Characters in Scenes)
	Events (Events and Domains & Events Masquerading as Scenes)

Genre

XIX. Elements of Structure: Genre

	Modes of Expression
	Grid of Dramatica Genres

SECTION TWO:
THE ART OF STORYTELLING

XX. SECTION TWO: The Art of Storytelling

	Foundations
	The Four Stages of Communication

Stage 1: Storyforming

	Introduction to Storyforming
	Inspiration
	Structure
	Communication

XXI. Storytelling and Character Dynamics

	Resolve: Change or Steadfast?
	Direction: Stop or Start?
	Approach: Do-er or Be-er?
	Mental Sex: Male of Female?

XXII. Storytelling and Plot Dynamics

	Work: Action or Decision?
	Limit: Timelock or Optionlock?
	Outcome: Success or Failure?
	Judgemnt: Good or Bad?

XXIII. Storytelling and Storyforming Structural Appreciations

	Selecting the Domains in Your Story
	Picking the Proper Classes for the Domains in Your Story

XXIV. Storytelling and Plot Appreciations

	Static Plot Appreciations
	Progressive Plot Appreciations
	Acts

XXV. Storytelling and Thematic and Character Appreciations

	Change Characters and the Crucial Element
	Steadfast Characters and the Crucial Element

Stage 2: Storyencoding

XXVI. Introduction to Story Encoding

XXVII. Encoding Objective Characters

	Archetypal Characters
	Complex Characters

XXVIII. Encoding Subjective Characters

	The Main Character is not necessarily the Protagonist
	Encoding Mental Sex

XXIX. Encoding Theme

	Encoding the Objective Story Theme
	Encoding Theme for the Other Throughlines

XXX. Encoding Plot

	Encoding Progressive Plot Appreciations
	Signposts and Journeys
	Main Character Domain Plot Progression
	Obstacle Character Domain Plot Progression
	Subjective Story Domain Plot Progression

XXXI. Encoding Genre

Medium & Format

Stage 3: Storyweaving

XXXII. Introduction to Storyweaving

XXXIII. Storyweaving and Structure

	Storyweaving Static Appreciations
	Storyweaving Characters

XXXIV. Storyweaving and Storytelling

Spatial Techniques

	Building Size
	Red Herring
	Meaning Reversal
	Message Reversals

Temporal Techniques

	Building Importance
	Non-Causality
	Out of Sequence Experiences
	Flashbacks and Flash-forwards

XXXV. Storyweaving Tips

Tips for Short Stories
Tips for Episodic Television Series

	Characters in Episodic Series
	Plot in Episodic Series
	Theme in Episodic Series
	Genre in Episodic Series

Tips for Multi-Story Ensemble Series and Soap Operas
Tips for Novels
Tips for Motion Pictures

	The Rule of Threes
	Hand-offs

Stage 4: Story Reception

XXXVI. About the Audience

	Writing for oneself
	The Author as Main Character
	Writing for Groups

XXXVII. A Quick Lesson In Propaganda
XXXVIII. Adaptation

How to Order Dramatica: A New Theory of Story


The Dramatica Theory was developed by Melanie Anne Phillips and Chris Huntley and was not researched nor based upon any other theories of story design or analysis.


COPYRIGHT NOTICE:


Copyright 1993, 1994, 1995 by Screenplay Systems Incorporated. ALL RIGHTS RESERVED. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any human or computer language, in any form or by any means whatsoever, without the express written permission of Screenplay Systems Incorporated, 150 East Olive Avenue, Suite 203, Burbank California 91502, United States of America. Phone: (818) 843-6557. Internet Electronic Mail Address: DRAMATICA@SCREENPLAY.COM


TRADEMARKS:


Dramatica is a trademark of Screenplay Systems Incorporated. Scriptor and Screenplay Systems are trademarks of Screenplay Systems Incorporated.


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Copyright©1996 Screenplay Systems.

The Dramatica theory was developed by Melanie Anne Phillips and Chris Huntley
Chief Architect of the Dramatica software is Stephen Greenfield
Dramatica is a registered trademark of Screenplay Systems Incorporated

Index of Dramatica Theory Materials Storymind.com is pleased to present this collection of materials about the Dramatica Theory of Story. We hope you find it both useful and through-provoking. This information is divided into three sections: The Dramatica Theory A complete exploration of the theory in every detail Historic Documents The development of Dramatica from the beginning Speculations Dramatica applied to psychology, physics, religion and more The Dramatica Theory Dramatica Theory Book Online Free online edition of the 400+ page book, Dramatica: A New theory of Story, in which Melanie Anne Phillips & Chris Huntley originally documented their work. Dramatica Dictionary Official definitions of all terms in the Dramatica theory and software. Dramatica Writing Tips Useful and informative articles on how to approach and employ both the Dramatica Theory and Software. Constructive Criticisms Practical illustrations of how applying the Dramatica theory could have made some well-known successful story's even better! Dramatica Q & A Answers to questions from users of the Dramatica Theory and Software. Instant Dramatica Even more directly practical essays on using Dramatica for real-world writing situations and problems provided by noted screenwriter Armando Saldaña Mora. Historic Documents Dramatica - The Lost Theory Book Early attempts to document the theory, including many unfinished conjectures and false starts. Dramatica Development Archives Early documents created during the development of the foundations of Dramatica.  Often later discarded, they show the roots of the thinking that ultimately evolved into the theory as it stands today. Speculations Deep Theory Transcript of a class on the outer fringes of Dramatica Theory I taught as part of a now-defunct Dramatica Certification course. Dramatica Math A mathematician takes a stab at describing the Dramatica model in terms of dimensional distortions. Mental Relativity An exploration of the theory of psychology modeling which grew out of the development of Dramatica. Dramatica I Ching Several of our users have noticed a similarity between the character grid in Dramatica and the elements of the traditional I Ching.  Though unintentional, perhaps all models that look deeply into the mind will resemble each other. Our Most Popular Products

StoryWeaver Story Development Software By far, our most popular product, outselling all of our other products combined!  StoryWeaver takes you step by step through the entire process--from initial inspiration to completed novel or screenplay.  At just $29.95, StoryWeaver is affordable for any writer.  (Details) Movie Magic Screenwriter is one of two industry standard word processing screenplay formatters, the other being Final Draft.  Each of these programs offers a complete suite of screenwriting tools to make your next script a breeze to write.  (Details)  Dramatica Pro Unlike any other story development product, Dramatica Pro uses a patented Story Engine to interactively help you build a structure, find and fix dramatica holes and inconsistencies.  (Details) 20 Hour Writing Course on CD ROM This intense program features 20 hours of video documenting the entire college-level course in creative writing given by Melanie Anne Phillips, creator of StoryWeaver and co-creator of Dramatica.  Just $19.95  (Details) More