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A Story is an Argument

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A Writer Comments

I don't know what version I have since it has no numbers I can locate on the packaging, but I got it in the last 60 days. And, I may abandon it in the next 60. Writing for an audience means communicating with that audience and your view apparently dismisses that from what you say about your material. I think I see the problem. You are under the mistaken illusion that academically accurate must be boring and incomprehensible. As a former college instructor I understand the concept. Ah, well, perhaps another day and another way. Have a good.

Melanie Replies

First of all, we get a whole range of comments. One professor wrote us to say that "The first four pages [of the theory book] may be the most elegant and insightful description of what stories are ever written." So, I have to feel that the truth of the matter falls somewhere between your comments and his.

The bottom line is: if it works for you, use it. If it doesn't, don't. I can tell you haven't read the theory book from your last comment. You indicate that we dismiss the notion that writing means communicating. In fact, things are quite to the contrary.

As the theory book says, Dramatica is not really so much a theory of story as a theory of communication. To communicate one must go through four distinct stages. First, one must have something to communicate - feelings, points of view, whatever. But it must be understood by the author, in order for communication to occur.

Certainly, one can create a story without knowing what it means, but this is more like creating inkblots and letting the audience decide what it sees in them.

We call the first stage of communication, Storyforming, because it involves, simply, forming the story to be communicated.

Stage two is Storyencoding. In this stage, the concepts or feelings to be communicated must be symbolized - turned into items that can be transmitted through a medium, be it words, sentences, and paragraphs in a book or scenes, sequences, and acts in a motion picture.

We cannot communicate mind to mind - not yet, anyway. So, instead we must symbolize what we have in mind so that information can be sent across the medium.

Stage three is called Storyweaving. Once you have the data packets (symbols) you created in Storyencoding, you need to deliver them through exposition. For example, a storyforming concept might be that the goal is "obtaining" something. Possession is the key to this example story. Obtaining what? That is determined in Storyencoding. In this example, it could be obtaining stolen diamonds, someone's love, or a diploma. Now to Storyweave this... Do we tell the audience what the goal is right up front, or let them figure it out by the actions and behaviors of the characters? Our choice entirely how we weave (or expose) the information. Do we mislead them into thinking the goal is one thing, only to bring them to understand in a moment of inspiration that it was really always something else? Our choice.

But once we have completed Storyweaving, we must go on to stage four - Reception. Reception is where the audience becomes the author of the work (as they interpret it). Just as with the inkblots, the audience may see things that weren't intended or not see things that were - both consciously and subconsciously. Once must know one's audience to communicate effectively both feelings and logistic arguments.

Clearly, an audience is not a unified whole. There will be a range of responses to one's work as each individual audience member brings his or her personal experience to bear in the Story Reception process.

That is what happens with our theory book as well. Some just don't get it, and others think it is the most insightful and elegant work. Most fall somewhere in the middle, finding it a useful tool when one needs that kind of tool, while still holding onto their other tools when those seem more appropriate.

We believe in communication so much, in fact, that our book is divided into two primary sections - the Elements of Structure and the Art of Storytelling. And the Storytelling section has four chapters - Storyforming, Storyencoding, Storyweaving, and Reception.

Clearly, the statement that we dismiss the need for communication is not based on anything we have purported, and I honestly don't understand how you could have arrived at that conclusion.

Nonetheless, thank you for your comments, and best of luck in your writing endeavors.

Melanie

 
 
 

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Top Articles
 
Be a Storyweaver
NOT a Story Mechanic!
 
How to Create
Great Characters!


A Novelist's
Bag of Tricks

A Screenwriter's
Bag of Tricks

Character Arc 101

Heroes and Villains

Avoiding the
Genre Trap

Creating Characters from Plot

Browse All Articles
 

 

Top Classes
 
Progressive Plot Points
 
Audience "Reach"

A Story is an Argument

Dramatica Theory

The Story Mind

Time Locks and
Option Locks

The Four Throughlines Part One

The Four Throughlines Part Two

Browse All Classes
 

 

Top Downloads

StoryWeaver Demo
 
Dramatica Demo

Movie Magic Demo

Power Structure Demo

Dramatica
Theory Book

Dramatica
Comic Book

Dramatica
Structure Chart

Browse All Downloads
 

 


Our Bestseller!

StoryWeaver

Write Your Novel
or Screenplay
Step by Step
 

  
$29.95
 

 


12 Hour
Writing Course

  
Learn Story Structure
 
PE03328A.gif (2743 bytes)
  
$19.95

 


Writer's DreamKit

Essential Structure
 
Dramatica Writers DreamKit 4.0
  
$49.95
 

 


Dramatica
 
Perfect Structure
 
Dramatica Pro 4.0<br>Plus FREE Bonus!
  
$179.95
 


 
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