DRAMATICA:
A NEW THEORY OF STORY

Developed and Written by
Melanie Anne Phillips & Chris Huntley

SPECIAL ON-LINE EDITION.

TABLE OF CONTENTS

In support of the on-line writing community, Screenplay Systems Incorporated is providing this special on-line edition of the 450 page book, DRAMATICA: A NEW THEORY OF STORY.

Dramatica:
A New Theory Of Story

How This Book Is Arranged


I. Dramatica & the Creative Writer

SECTION 1:
THE ELEMENTS OF STRUCTURE



II. Foundations: Central Concepts

bulletThe Story Mind
bulletThe Four Throughlines

Character

III. Introduction to Characters

bulletHero is a Four Letter Word
bulletObjective and Subjective Characters

IV. Introduction to Archetypes

bulletThe Eight Archetypes
bulletComplex Characters

V. Objective Character Functions

bulletDrivers and Passengers
bulletExamples from Star Wars, Wizard of Oz, and Jaws

VI. Action and Decision Elements of Drivers and Passengers

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

VII. Placing Motivation Elements into Quads

bulletGrouping the 16 Motivation Elements
bulletExamples from Star Wars, Wizard of Oz and Jaws

VIII. Complex Motivation Characteristics

bulletRules for Building Characters
bulletA Look at Complex Characters in Gone With The Wind and Rear Window

IX. Exploring Other Character Dimensions

bulletThe 64 Character Elements Chart
bulletMapping the Archetypal Pattern
bulletExamining Archetypal Methodologies
bulletComplex Character Dimensional Patterns

X. Subjective Characters

bulletDefining the Main and Obstacle Character
bulletThe Main and Obstacle Character in the Objective Story
bulletThe Main Character's Crucial Element

XI. Problem Solving and Justification

bulletWhat are Justifications?
bulletWhait is Problem Solving?
bulletWhy we Justify
bulletA Simple Example of Problem Solving
bulletDefining the Problem
bulletThe Justified Main Character

Theme

XII. Elements of Structure: Theme

bulletDescribing the Story's Problem
bulletChart of Dramatica Classes
bulletDomains
bulletChart of Dramatica Types
bulletConcerns
bulletChart of Dramatica Variations
bulletRanges
bulletChart of Dramatica Elements
bulletProblems

XIII. Domain Descriptions

bulletMatching Points of View to the Chart
bulletObjective Story Domain
bulletMain Character Domain
bulletObstacle Character Domain
bulletSubjective Story Domain

XIV. Concern, Ranges and Problems

bulletDomains and Beyond
bulletConcerns
bulletRanges
bulletProblems

XV. Deep Theme Theory

bulletThe Thematic Argument
bulletPremise and the Thematic Argument
bulletAdditional Appreciations

Plot

XVI. Elements of Structure: Plot

bulletPlot vs. Storyweaving

XVII. Plot Appreciations

bulletGoal
bulletRequirements
bulletConsequences
bulletForewarnings
bulletDividends
bulletCosts
bulletPrerequisites
bulletPreconditions

XVIII. Plot Progression

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

Genre

XIX. Elements of Structure: Genre

bulletModes of Expression
bulletGrid of Dramatica Genres


SECTION TWO:
THE ART OF STORYTELLING

XX. SECTION TWO: The Art of Storytelling

bulletFoundations
bulletThe Four Stages of Communication

Stage 1: Storyforming

bulletIntroduction to Storyforming
bulletInspiration
bulletStructure
bulletCommunication

XXI. Storytelling and Character Dynamics

bulletResolve: Change or Steadfast?
bulletDirection: Stop or Start?
bulletApproach: Do-er or Be-er?
bulletMental Sex: Male of Female?

XXII. Storytelling and Plot Dynamics

bulletWork: Action or Decision?
bulletLimit: Timelock or Optionlock?
bulletOutcome: Success or Failure?
bulletJudgemnt: Good or Bad?

XXIII. Storytelling and Storyforming Structural Appreciations

bulletSelecting the Domains in Your Story
bulletPicking the Proper Classes for the Domains in Your Story

XXIV. Storytelling and Plot Appreciations

bulletStatic Plot Appreciations
bulletProgressive Plot Appreciations
bulletActs

XXV. Storytelling and Thematic and Character Appreciations

bulletChange Characters and the Crucial Element
bulletSteadfast Characters and the Crucial Element

Stage 2: Storyencoding

XXVI. Introduction to Story Encoding

XXVII. Encoding Objective Characters

bulletArchetypal Characters
bulletComplex Characters

XXVIII. Encoding Subjective Characters

bulletThe Main Character is not necessarily the Protagonist
bulletEncoding Mental Sex

XXIX. Encoding Theme

bulletEncoding the Objective Story Theme
bulletEncoding Theme for the Other Throughlines

XXX. Encoding Plot

bulletEncoding Progressive Plot Appreciations
bulletSignposts and Journeys
bulletMain Character Domain Plot Progression
bulletObstacle Character Domain Plot Progression
bulletSubjective Story Domain Plot Progression

XXXI. Encoding Genre

bulletMedium & Format

Stage 3: Storyweaving

XXXII. Introduction to Storyweaving

XXXIII. Storyweaving and Structure

bulletStoryweaving Static Appreciations
bulletStoryweaving Characters


XXXIV. Storyweaving and Storytelling

Spatial Techniques

bulletBuilding Size
bulletRed Herring
bulletMeaning Reversal
bulletMessage Reversals

Temporal Techniques

bulletBuilding Importance
bulletNon-Causality
bulletOut of Sequence Experiences
bulletFlashbacks and Flash-forwards


XXXV. Storyweaving Tips

Tips for Short Stories
Tips for Episodic Television Series

bulletCharacters in Episodic Series
bulletPlot in Episodic Series
bulletTheme in Episodic Series
bulletGenre in Episodic Series

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

bulletThe Rule of Threes
bulletHand-offs

Stage 4: Story Reception

XXXVI. About the Audience

bulletWriting for oneself
bulletThe Author as Main Character
bulletWriting 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.


Back to the Dramatica Home Page

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

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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.

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20 Hour Writing Course on CD ROM

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