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StoryWeaver

$29.95

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.

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Dramatica

$149.95

Dramatica Pro 4.0<br>Plus FREE Bonus!

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.

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Movie Magic Screenwriter

$149.95

Movie Magic Screenwriter<br>Plus FREE Bonus!

The most advanced screenwriting software available, Movie Magic is deemed a "preferred file format" by the Writer's Guild. An industry standard, MMS is used by professionals and studios around the world.

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Throughline Index Cards

$9.95

Interactive index cards - Name them, add notes, titles, colors, click and drag to re-arrange, adjust font, save, export and print. An essential tool for every writer.

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A Writer Asks...

I have a handle on most Dramatica terms but I'm having troubles conceptualizing Objective Character. Is Objective Character the same as Obstacle character?

Melanie Replies...

No, they are quite different.

1. Objective Characters have structural roles and are identified by their functions.

2. The Obstacle character is a SUBJECTIVE character, which are identified by their points of view.

Here's a bit more background on how it all fits together...

A central concept of the Dramatica theory is that every complete story represents a model of a single human mind trying to deal with an inequity.

This occurs because in order to communicate an author must make a copy of what they have in mind and show it to the audience. This model of the author's perspective on his or her subject is called the Story Mind.

The audience examines this Story Mind from four different points of view. They are the Objective view (where we find the Objective Characters), The Main Character view (which is the subjective character who represents the audience position in the story), the Obstacle Character view (which is the subjective character who is trying to change the Main Character's point of view on the issues), and the Subjective view (which describes the growth of the relationship between the Main and Obstacle Characters).

The first view we will examine is from the outside looking in. This is the Objective View. From here, the audience sees characters like soldiers on a fiel viewed by a general on a hill overlooking the dramatica battle. There are foot soldiers, grenadiers, etc., all identified by their functions in the battle. In stories, we see these as the Protagonist, Antagonist, Sidekick, etc.

The second point of view with which an audience becomes involved with a story is for them to step into the story as if the audience were one of the players. When the audience leaves the general's hill and zooms down to stand in the shoes of one of the soldiers on the field, that soldier becomes the Main Character. The Main Character is simply the name of the player who represents the audience's position in the story.

Because Main Character is a point of view, it can be attached to any of the Objective Characters. So, in one story, the Main Character might be the Protagonist, creating the typical "hero". In another story, however, the Main Character might be the Sidekick, so that the audience observes what the Protagonist is doing without feeling like they are driving the story forward themselves. This is how things are set up in "To Kill A Mockingbird", in which Atticus (the Gregory Peck part in the movie) is the Protagonist (driving the action forward) while his young daughter Scout provides the audience position in the story (which is told through her child's eyes) making her the Main Character.

Now, as the Main Character makes his or her way through the dramatic battle, he or she encounters another "soldier" blocking the path. The other soldier says, "change course!" But is it a friend trying to prevent the Main Character from walking into a mine field or an enemy trying to lure the Main Character into an ambush. This other solder is the Obstacle Character.

The Obstacle Character represents the alternative paradigm to the Main Character's existing opinions about the central issue of the story. It is their dramatic purpose in the story to force the Main Character to reconsider changing his or her long-held views. This provides the other side of the story's argument, making it a full exploration of the topic, not just a one-sided statement.

Sometimes the Obstacle Character is right, and sometimes wrong. And sometimes the Main Character chooses the good path and sometimes the bad one. Also, the Obstacle Character may not even know they have such an influence on the Main Character as to make him or her consider changing attitudes or approaches. The Obstacle Character can be a role model, even one on TV or from the past, whose presence or recorded works argue the alternative paradigm and influence the Main Character.

The fourth perspective is the Subjective view. This is simply a tale of the growth of the relationship between the Main and Obstacle Characters, as the Main Character is progressively influenced to change even while seeking to hold on to the tried and true. It is this view that gives a story its passionate flavor for an audience, as they watch the two "boxers" circling each other in the "ring".

When all four points of view are provided, all the principal ways of looking at a story's issues are built into the Story Mind. The Main Character is the "I" perspective for the audience - first person singular. Obstacle Character is "you" (for we never see things from the Obstacle's point of view, but rather look AT the Obstacle from the Main Character's point of view). The Subjective view is "we" as it describes the relationship between Main and Obstacle. The Objective view provides the "they" perspective, as the audience watches the Objective Characters from the outside looking in.

So, one must develop a complete set of Objective Characters. Then, one of those characters needs to be selected as the audience position in the story (which will affect the whole feel of how the battle unfolds). This will become the Main Character. Next, another Objective Character must be selected as the Obstacle Character. Which one will determine the complex nature of the relationship between Main and Obstacle, as part of their interchange will occur between their Objective Character aspects in the Objective story, and part will occur between the Subjective Character points of view int eh Subjective story.

Keep in mind that looking at a character as a doctor, mother, bum, or husband does NOT say anyting about whether they are a Protagonist, Antagonist or any other Objective Character. Objective Characters determine who is for something, who is against it, who acts primarily according to Reason and who with Emotion, and so on. The Mother may be the Protagonist, the Reason character, or even the Sidekick. And choosing her as the Main or Obstacle would add another level of complexity.

So, it is important for consistency and completeness of the argument made through the Story Mind to assign all the Objective Characters a role in your story and to make one a Main Character and one an Obstacle Character. But, the "feel" of your story won't truly develop until you assign the social roles these characters fulfill in your story world as well.

Often an author will wish to start with a Mother character or some other social role. Only then does the process begin of determining who is Main and Obstacle, and then determining what Objective Characters each represents.

How you approach the creation of the full complement of Characters and their roles is up to you. That is must be done is a result of the necessity of creating a Story Mind for the audience to both inspect and possess as the conduit of communication between author and audience.

Melanie


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*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.

 
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StoryWeaver - $29.95

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.

Dramatica Pro 4.0<br>Plus FREE Bonus!

Dramatica Pro - $179.95

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.

Dramatica Writers DreamKit 4.0

Dramatica Writer's DreamKit - $49.95

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.

Power Structure <br>Story Development <br>Software

Power Structure - $149.95

An all-in-one writing environment with built-in word processor that helps you organize and cross-reference your story development materials.  INCLUDES DVD SET BONUS!

Power Writer

Power Writer - $99.95

The little brother of Power Structure includes the essential organization and word processing tools writers need the most.

Throughline - Index Cards (Mac) - $19.95

Interactive index cards - add notes, titles, colors, click and drag to re-arrange.  An essential tool for every writer.

Movie Magic Screenwriter<br>Plus FREE Bonus!

Movie Magic Screenwriter - $149.95

The most advanced screenwriting software available, Movie Magic is deemed a "preferred file format" by the Writer's Guild.  An industry standard, MMS is used by professionals and studios around the world.

Final Draft 7 <br>Screenwriting Software

Final Draft - $199.95

Like Movie Magic Screenwriter, Final Draft is an industry standard, used by many professional screenwriters and studios around the world.

Between The Lines (Macintosh) - $29.95

The lowest cost automatic screenplay formatter for Macintosh includes high-end features such as interactive index cards linked to your script.

20 hour Writing<br>Course on CD ROM<br>featuring Dramatica

12 Hour Writing Course - $19.95

Everything you need to know about story structure - twelve hours of video on a single DVD - presented by Dramatica Theory co-creator, Melanie Anne Phillips.

Dramatica Software<br>Companion CD ROM

Dramatica Software Companion - $19.95

More than four hours of video demonstrations of every key feature in Dramatica, narrated by the co-creator of Dramatica.

Writing with the Story Mind<br>1 hour audio program

StoryWeaving Tips Book - $19.95

170 pages of eye-opening essays on story structure, storytelling, finding inspiration and a wide variety of writing techniques.

Writing with the Story Mind<br>1 hour audio program

StoryWeaving Seminar 8 DVD Set - $99.95

14 hours of video from a live two day course taught by theory co-creator Melanie Anne Phillips covering Dramatica story structure and StoryWeaver storytelling.

Writing with the Story Mind<br>1 hour audio program

StoryWeaving Seminar Online - $49.95

The same 14 hour program presented in streaming video that you can view online or download for a permanent copy.

The Dramatica Theory<br>2 hour audio program

Dramatica Theory 2 Hour Audio Program - $19.95

Every key concept in the Dramatica Theory of Story is fully explained in this double-CD set.

Writing Characters<br>of the Opposite Sex

Writing Characters of the Opposite Sex - $29.95

A three-hour audio CD set that explains everything you need to know to create characters of both sexes that ring absolutely true (and maybe even gain insight into the communication problems in the real world!)

Master Storyteller:<br>Improve your<br>Writing Skills!

Master Storyteller Improves Your Writing - $29.95

Become a better writing with this series of interactive exercises.

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How to Create Great Characters DVD - $19.95

A 90 minute video program recorded during Dramatica co-creator Melanie Anne Phillips' live in-person seminar on story structure and storytelling.

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Structure vs. Passion - Audio CD $19.95

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.


Writing with the Story Mind - Audio CD - $19.95

Learn how to psychoanalyze your story's "mind" to uncover and treat problems with characters, plot, theme, and genre.


 

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