Dramatica Writing Tips
Dramatica's Split Personality:
Theory of Story or Software Product?
Dramatica’s Split Personality
Or
How to Avoid Confusion….
Recently, a Dramatica user commented that Dramatica is an elegant theory, but it is
also a product. As a product, it needs to be easy to use, but is bogged down partly by
un-needed complexities of the theory and partly because Chris and I aren't very good
teachers.
My response follows:
One of the biggest problems we have had with Dramatica is an identity crisis: is it a
theory or a product? On the one hand, studying the theory leads to greater intuitive
understanding of story at a personal, creative level. On the other hand, building a sound
non-formula story structure by selecting items from a menu is quite convenient for any
author.
The difficulty is that when you make choices in Dramatica, they don't really help your
story unless you understand what you are choosing. Now, if the Dramatica theory was not
based on a completely new theory that looks at everything about story in a completely
different way, then we could pretty much leave the theory out of the software and make it
one whole heck of a lot easier to use!
So, now we have a choice: the theory or the software? In fact, we might create two
things... 1. The Dramatica Theory which would have no directly practical value other than
understanding how to better make stories. 2. The Dramatica Story Development Software
program that would not involve the Dramatica theory and simply provided utilities and
proven, universally understood dramatic concepts.
Let's look at what we would get:
The Dramatica Theory
This theory would be not unlike Zen. One could spend a lifetime studying it and still
arrive at new enlightenment. There would be simple explanations that would help the novice
gain in understanding, yet these same explanations would appear to masters of the theory
as actually being quite wrong, just like Zen. As the novice "grew" in
enlightenment, he or she would come to discard the old visualizations in favor of the new,
pulling more of what was learned into a larger, more complex grasp of the whole. The key
to graduating to each new level would be the ability to not only to understand the parts
of the larger complexity, but also the ability to sense the wholeness of it intuitively.
In this way, one might not only draw upon knowledge, but with thought might be able to
synthesize new Truth that works at that level of understanding. Eventually, a gifted
student might become a master, at which point he or she would fully understand that there
is no end to learning and therefore no rush to attain it. As one "master" of
quantum theory once said, "No one understands quantum theory."
The Dramatica Story Development Software
This program would largely be an organizational tool. It would ask you to fill in
information about your Characters, Plot, Theme, and Genre. It would allow you to create as
many scenes or acts as you like, arrange them in any order, and fill them in with
Characters, Plot, Theme, and Genre story elements. It would provide a checklist of key
dramatic elements, generate reports about what you have created, and give you a means of
exporting that information into a word processor for further development. It might also
have a dictionary of terms, and a help system, including suggestions on how to use the
software creatively. In short, Dramatica the Software would be a convenient way to
organize your ideas and develop them into the underlying basis for a complete story.
Now, where did we possible go wrong with Dramatica? We did both in the same product.
If we took the theory out of the product, it would still be a wonderfully creative
environment and a great way to organize your story before you write. In fact, every
feature I mentioned about the software above is included, plus many other utilities and
conveniences.
If we took the product out of the theory, no one would expect anything immediately
useful out of it. It would then attract only those who found it fascinating and decided to
pursue it out of interest, learning more about the nature of stories and storytelling as
they went.
But, we put the two together. And as a result, the practical people are forced to
confront new theory concepts that (although insightful and useful in constructing a story)
only generate more questions that then require more learning, ad nauseum. And, the theory
people get frustrated by all of the "real world" considerations that keep
getting in their way: obstacles to the unfettered pursuit of wisdom.
In short (and in our defense), the difficulty in teaching Dramatica lies not, I hope,
in a lack of scholarly abilities on our part, but in our attempt to present both the
theory and the software at the same time.
How did we end up in this fix? Well at first we were only interested in developing the
theory and teaching it. Then we began to uncover concepts that, darn it, seemed just too
useful to leave in the realm of the esoteric. So, we thought that putting what we
discovered in software form would make the material more accessible. And, if we were going
to present useful information, well then what other useful tools for authors could be
provide that didn't pertain to the theory. After all, why not offer everything we could!
As authors and filmmakers ourselves, we didn't just think about theory, you know. We
also lamented the lack of good story development software from a practical sense. What a
great opportunity to add that functionality into the mix and fulfill another of our
personal frustrations! Now, if we put in some of the theory, well we better put it all in
or it will seem incomplete. And, if we add some practical tools, we better not leave any
out or the product will seem unfinished.
So, as you can see, we kind of backed into creating a dual-personality software product
and a theory that has to pay homage to the practical. And, therein lies the problem. We're
kind of stuck with it. If we offered Dramatica without any of the questions requiring
theory understanding, it would lose its unique ability to predict a dramatic structure.
But if we just presented the theory without the software we would create even greater
frustration in those who keep learning but never figure out how to apply it all.
In an attempt to make the who package easier to understand, I have just altered the
format of my upcoming UCLA class in Dramatica from 9 weeks to 12. Previously, I tried
focusing only on the theory and got complaints because it wasn't practical. So, I tried
focusing on the software and got complaints that the theory seemed disjointed. Then, I
tried tying every theory point to the software and explaining every software function as
to the theory behind it and the whole class became so bogged down that everyone went away
confused.
THIS time I'm adding three classes to the nine in the course. The first class does
nothing more than explore Dramatica Pro, every nook and cranny. Any theory that creeps in
will be incidental. By the end of that class, everyone will know what Dramatica is
supposed to DO and HOW to do it! The second class explores the special edition
"Dramatica StoryGuide" software which is given out in the class with paid
registration. This is a cut-down version of Dramatica that has only one question path,
minimal reports, and the theory book in electronic form. It is designed specifically to
work with in tandem with the lectures in class and no more. By the end of class two,
everyone should understand exactly what they need to do on their own with their own story
by the end of the course. In fact, we'll create a complete class story in that one
evening. So, after the first two classes, the practical is out of the way.
Then, nine classes - a theory overview followed by the four aspects of structure
(Character, Theme, Plot, Genre) and the four stages of storytelling (Forming, Encoding,
Weaving, and Reception). The final class (#12) is an opportunity for the students to
present their treatments to the class for feedback from a Dramatica perspective. In this
way, I hope to teach both the theory and the software but NOT AT THE SAME TIME!!!
So, if I have one suggestion for Dramatica users it is this:
Don't ask HOW and WHY at the same time! If you have a question about how to do
something in the software, ask that by itself. Then, if you want to know why such a thing
should be done in the first place, ask that separately as well. Eventually, you'll get
both answers, but you will find each much more understandable if you don't look for both
concurrently.
When asking about the theory, see it more like Zen - a never-ending quest for
enlightenment. When asking about the theory, see it more like a user's manual - what
buttons do you push to get it to do this?
As for me, if anything, I've been guilty of trying to answer these dual questions with
a dual-purpose response. For my part, in the future I will separate my answers into
separate replies. This way the mind will not be pulled into two opposite modes of thought
simultaneously.
Melanie Anne Phillips
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
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.
Format:
Windows / Mac CD-ROM
