Dramatica divides "subplots" into two types: Those that
run parallel and don't really affect each other Dramatically, and
those that are dramatically hinged together.
An example of parallel subplots can be found in Woody Allen's
"Crimes and Misdemeanors" in which the "Crime"
story with Martin Landau and the "Misdemeanor" story with
Woody Allen never really affect each other.
The purpose of having these two stories in the same
"work" is for the audience to be able to compare two
completely different issues that share a common cultural concern. In
"Crimes and Misdemeanors," it is the differential created
between them which provides a social message that extends beyond the
meaning found by either of the two Main Characters.
An example of a hinged subplot can be found in the original
"Star Wars." Han Solo's debt to Jabba the Hutt is a story in
its own right with Han as the Main Character. This subplot eventually
comes to have change the course of the plot in the main story.
The purpose of having a subplot may be two-fold: 1: to enhance a
character, theme, plot, or amplify part of the genre of the
"work" and/or 2: to move the course of the main story in a
direction it could not dramatically go in and of itself.
In "Star Wars," Han Solo is initially uncooperative and
refuses to get involved in the efforts of Obi Wan or Luke. For
example, when the group first arrives on the Death Star, Han wants to
fight, not to hide in the room while Obi Wan goes off. But when Luke
discovers that the princess is on board, Han wants to wait in the room
and not fight. It is his nature.
So, how do we get Han to join Luke in the rescue attempt? We invoke
Han's subplot. Luke tells Han, "She's rich," and Han is
already hooked. But if there were no Jabba subplot, the money alone
would not be enough to convince the uncooperative Han to "walk
into the detention area." On the other hand, since Jabba has put
a price on Han's head, he's dead already unless he can come up with
the money, and this is probably the only chance he's going to get to
do that.
As a result, Han joins the plan, acting completely against what his
character would do dramatically in the main story but in complete
consistency with his personal needs (which are more important to him)
in his subplot.
Use both the parallel and hinged subplots to enhance your story's
depth and move it in directions it could not legitimately go with only
the main plot.
*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
structural writer can often lack passion, which is where StoryWeaver can help.
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.
Our
Bestseller! A
step by step approach to story development, from concept to completed
story for your novel or screenplay. More than 200 interactive
Story Cards guide you through the entire process.
Includes
2 Exclusive Bonuses! The
most powerful story structuring software available, Dramatica is driven
by a patented "Story Engine" that cross-references your
dramatic choices to ensure a perfect structure.
Little
brother to Dramatica Pro, Writer's DreamKit is built around the same
patented Story Engine - it just tracks fewer story points. So, you
develop the same solid story structure, just with fewer details.
Perfect for beginning writers or those new to Dramatica.
An
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INCLUDES DVD SET BONUS!
The most
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Everything
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single DVD - presented by Dramatica Theory co-creator, Melanie Anne
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14 hours of
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Anne Phillips covering Dramatica story structure and StoryWeaver
storytelling.
A three-hour
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characters of both sexes that ring absolutely true (and maybe even gain
insight into the communication problems in the real world!)
The Story
Mind approach to writing uses your own passions to create your story's
structure. It focuses your efforts, clarifies the direction of
your story, and triggers your imagination.
Format:
Windows / Mac CD-ROM
