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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
SECTION 1:
THE ELEMENTS OF STRUCTURE
- The Story Mind
- The Four Throughlines
Character
- Hero is a Four Letter Word
- Objective and Subjective Characters
- The Eight Archetypes
- Complex Characters
- Drivers and Passengers
- Examples from Star Wars, Wizard of Oz, and Jaws
- Recap of Archetypal Characters
- Archetypal Actions and Decision Characteristics
- Archetypal Motivation Quads Examples from Star Wars, Wizard
of Oz, and Jaws
- Grouping the 16 Motivation Elements
- Examples from Star Wars, Wizard of Oz and Jaws
- Rules for Building Characters
- A Look at Complex Characters in Gone With The Wind and Rear
Window
- The 64 Character Elements Chart
- Mapping the Archetypal Pattern
- Examining Archetypal Methodologies
- Complex Character Dimensional Patterns
- Defining the Main and Obstacle Character
- The Main and Obstacle Character in the Objective Story
- The Main Character's Crucial Element
- What are Justifications?
- Whait is Problem Solving?
- Why we Justify
- A Simple Example of Problem Solving
- Defining the Problem
- The Justified Main Character
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
- Matching Points of View to the Chart
- Objective Story Domain
- Main Character Domain
- Obstacle Character Domain
- Subjective Story Domain
- Domains and Beyond
- Concerns
- Ranges
- Problems
- The Thematic Argument
- Premise and the Thematic Argument
- Additional Appreciations
Plot
- Goal
- Requirements
- Consequences
- Forewarnings
- Dividends
- Costs
- Prerequisites
- Preconditions
- 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
- Modes of Expression
- Grid of Dramatica Genres
SECTION TWO:
THE ART OF STORYTELLING
- Foundations
- The Four Stages of Communication
Stage 1: Storyforming
- Introduction to Storyforming
- Inspiration
- Structure
- Communication
- Resolve: Change or Steadfast?
- Direction: Stop or Start?
- Approach: Do-er or Be-er?
- Mental Sex: Male of Female?
- Work: Action or Decision?
- Limit: Timelock or Optionlock?
- Outcome: Success or Failure?
- Judgemnt: Good or Bad?
- Selecting the Domains in Your Story
- Picking the Proper Classes for the Domains in Your Story
- Static Plot Appreciations
- Progressive Plot Appreciations
- Acts
- Change Characters and the Crucial Element
- Steadfast Characters and the Crucial Element
Stage 2: Storyencoding
- Archetypal Characters
- Complex Characters
- The Main Character is not necessarily the Protagonist
- Encoding Mental Sex
- Encoding the Objective Story Theme
- Encoding Theme for the Other Throughlines
- Encoding Progressive Plot Appreciations
- Signposts and Journeys
- Main Character Domain Plot Progression
- Obstacle Character Domain Plot Progression
- Subjective Story Domain Plot Progression
Stage 3: Storyweaving
- Storyweaving Static Appreciations
- Storyweaving Characters
Spatial Techniques
- Building Size
- Red Herring
- Meaning Reversal
- Message Reversals
Temporal Techniques
- Building Importance
- Non-Causality
- Out of Sequence Experiences
- Flashbacks and Flash-forwards
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
- Writing for oneself
- The Author as Main Character
- Writing for Groups
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.
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
Visit
the Dramatica Theory Home Page
Try Dramatica & StoryWeaver Risk
Free*
$179.95
$29.95
*Try either or both for 90 days. Not working for you?
Return for a full refund of your purchase price!
About Dramatica and
StoryWeaver
Hi, I'm Melanie Anne Phillips,
creator of StoryWeaver,
co-creator of Dramatica
and owner of Storymind.com. If you have a moment, I'd like to tell you
about these two story development tools - what each is designed to do, how
each works alone on a different part of story development and how they can be
used together to cover the entire process from concept to completion of your
novel or screenplay.
What They Do
Dramatica is a tool to help you
build a perfect story structure. StoryWeaver is a tool to help you build
your story's world. Dramatica focuses on the underlying logic of your
story, making sure there are no holes or inconsistencies. StoryWeaver
focuses on the creative process, boosting your inspiration and guiding it to add
depth, detail and passion to your story.
How They Do It
Dramatica has the world's only
patented interactive Story Engine™ which cross-references your answers to
questions about your dramatic intent, then finds any weaknesses in your
structure and even suggests the best ways to strengthen them.
StoryWeaver uses a revolutionary new
creative format as you follow more than 200 Story Cards™ step by step through
the story development process. You'll design the people who'll inhabit
your story's world, what happens to them, and what it all means.
How They Work
Together
By itself Dramatic appeals to
structural writers who like to work out all the details of their stories
logically before they write a word. By itself, StoryWeaver appeals to
intuitive writers who like to follow their Muse and develop their stories as
they go.
But, the finished work of a
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And the finished work of an intuitive writer can often lack direction, which is
where Dramatica can help.
So, while each kind of writer will
find one program or the other the most initially appealing, both kinds of
writers can benefit from both programs.
Try Both Programs
Risk Free!
We have a 90
Day Return Policy here at Storymind. Try either or both of these
products and if you aren't completely satisfied we'll cheerfully refund your
purchase price.
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Everything
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Format:
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