{"id":5997,"date":"2021-09-16T19:45:54","date_gmt":"2021-09-17T02:45:54","guid":{"rendered":"https:\/\/storymind.com\/blog\/?page_id=5997"},"modified":"2021-09-16T19:45:54","modified_gmt":"2021-09-17T02:45:54","slug":"dramatica-a-new-theory-of-story","status":"publish","type":"page","link":"https:\/\/storymind.com\/blog\/dramatica-a-new-theory-of-story\/","title":{"rendered":"Dramatica &#8211; A New Theory of Story"},"content":{"rendered":"\n<div class=\"wp-block-media-text alignwide is-stacked-on-mobile\"><figure class=\"wp-block-media-text__media\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"1024\" data-attachment-id=\"5998\" data-permalink=\"https:\/\/storymind.com\/blog\/dramatica-a-new-theory-of-story\/81y3dnnpgql-4\/\" data-orig-file=\"https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4.jpg\" data-orig-size=\"1517,2159\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"81Y3DnNpgQL-4\" data-image-description=\"\" data-image-caption=\"\" data-medium-file=\"https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-211x300.jpg\" data-large-file=\"https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-720x1024.jpg\" src=\"https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-720x1024.jpg\" alt=\"\" class=\"wp-image-5998 size-full\" srcset=\"https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-720x1024.jpg 720w, https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-211x300.jpg 211w, https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-105x150.jpg 105w, https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-768x1093.jpg 768w, https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4-1079x1536.jpg 1079w, https:\/\/storymind.com\/blog\/wp-content\/uploads\/2021\/09\/81Y3DnNpgQL-4.jpg 1517w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><\/figure><div class=\"wp-block-media-text__content\">\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/www.storymind.com\/wpimages\/wpaa500c44_06.png\" alt=\"Dramatica A New Theory of Story\"\/><\/figure>\n\n\n\n<p class=\"has-text-align-center has-medium-font-size\">A Free Online Book<br>on Narrative Structure<\/p>\n\n\n\n<p class=\"has-text-align-center\">Developed and Written by<br>Melanie Anne Phillips<br>&amp;\u00a0Chris Huntley<\/p>\n<\/div><\/div>\n\n\n\n<p class=\"has-medium-font-size\">Preface<\/p>\n\n\n\n<p>Dramatica is a revolutionary theory of how and why stories work that can be used to analyze existing stories for flaws and to create original works with flawless structure.<\/p>\n\n\n\n<p>This is a free online version of the original book that documented the theory, which became the basis for the Dramatica line of software products that implement the theory to help authors keep their stories structurally sound.<\/p>\n\n\n\n<p>Originally introduced in 1994, both the theory and software have been used on countless best selling novels, motion pictures with collective box office receipts of billions of dollars, and in all media from short stories to stage plays to interactive fiction.<\/p>\n\n\n\n<p>Beginning in 2010, the theory and software have been used extensively in real world applications of narrative, successfully predicting the behavior of terrorist groups, identifying the trigger points of lone wolf terrorists, and in the corporate world on projects ranging from establishing a group identity for a professional sports team to connecting a manufacturer of luxury cars with Millennial customers.<\/p>\n\n\n\n<p>Here you will find a complete documentation of the nature, origin and function of narrative, both in fiction and the real world.<\/p>\n\n\n\n<p class=\"has-text-align-center has-large-font-size\">Dramatica:<br>A New Theory Of Story<\/p>\n\n\n\n<p class=\"has-text-align-center has-medium-font-size\">TABLE OF CONTENTS<\/p>\n\n\n\n<p><a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-prologue\/\" target=\"_blank\" rel=\"noreferrer noopener\">How This Book Is Arranged<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center has-medium-font-size\">SECTION 1: THE ELEMENTS OF STRUCTURE<\/p>\n\n\n\n<p>I.<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-1\/\">&nbsp;Dramatica &amp; the Creative Writer<\/a><br><br>II.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-2\/\" target=\"_blank\" rel=\"noreferrer noopener\">Foundations: Central Concepts<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>The Story Mind<\/li><li>The Four Throughlines<\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Characters<\/p>\n\n\n\n<p>III.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-3\/\" target=\"_blank\" rel=\"noreferrer noopener\">Introduction to Characters<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Hero is a Four Letter Word<\/li><li>Objective and Subjective Characters<br><\/li><\/ul>\n\n\n\n<p>IV.<a href=\"http:\/\/storymind.com\/dramatica\/dramatica_theory_book\/chapter_04.html\" target=\"_blank\" rel=\"noreferrer noopener\">&nbsp;<\/a><a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-4\/\" target=\"_blank\" rel=\"noreferrer noopener\">Introduction to Archetypes<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>The Eight Archetypes<\/li><li>Complex Characters<br><\/li><\/ul>\n\n\n\n<p>V.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-5\/\" target=\"_blank\" rel=\"noreferrer noopener\">Objective Character Functions<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Drivers and Passengers<\/li><li>Examples from&nbsp;<em>Star Wars<\/em>,&nbsp;<em>Wizard of Oz<\/em>, and&nbsp;<em>Jaws<\/em><br><\/li><\/ul>\n\n\n\n<p>VI.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-6\/\">Action and Decision Elements of Drivers and Passengers<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Recap of Archetypal Characters<\/li><li>Archetypal Actions and Decision Characteristics<\/li><li>Archetypal Motivation Quads Examples from&nbsp;<em>Star Wars<\/em>,&nbsp;<em>Wizard of Oz<\/em>, and&nbsp;<em>Jaws<\/em><br><\/li><\/ul>\n\n\n\n<p>VII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-7\/\" target=\"_blank\" rel=\"noreferrer noopener\">Placing Motivation Elements into Quads<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Grouping the 16 Motivation Elements<\/li><li>Examples from&nbsp;<em>Star Wars, Wizard of Oz<\/em>&nbsp;and&nbsp;<em>Jaws<\/em><br><\/li><\/ul>\n\n\n\n<p>VIII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-8\/\" target=\"_blank\" rel=\"noreferrer noopener\">Complex Motivation Characteristics<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Rules for Building Characters<\/li><li>A Look at Complex Characters in&nbsp;<em>Gone With The Wind<\/em>&nbsp;and&nbsp;<em>Rear Window<\/em><br><\/li><\/ul>\n\n\n\n<p>IX.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-9\/\" target=\"_blank\" rel=\"noreferrer noopener\">Exploring Other Character Dimensions<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>The 64 Character Elements Chart<\/li><li>Mapping the Archetypal Pattern<\/li><li>Examining Archetypal Methodologies<\/li><li>Complex Character Dimensional Patterns<br><\/li><\/ul>\n\n\n\n<p>X.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-10\/\" target=\"_blank\" rel=\"noreferrer noopener\">Subjective Characters<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Defining the Main and Obstacle Character<\/li><li>The Main and Obstacle Character in the Objective Story<\/li><li>The Main Character&#8217;s Crucial Element<br><\/li><\/ul>\n\n\n\n<p>XI.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-11\/\" target=\"_blank\" rel=\"noreferrer noopener\">Problem Solving and Justification<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>What are Justifications?<\/li><li>Whait is Problem Solving?<\/li><li>Why we Justify<\/li><li>A Simple Example of Problem Solving<\/li><li>Defining the Problem<\/li><li>The Justified Main Character<br><\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Theme<br><\/p>\n\n\n\n<p>XII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-12\/\" target=\"_blank\" rel=\"noreferrer noopener\">Elements of Structure: Theme<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Describing the Story&#8217;s Problem<\/li><li>Chart of Dramatica Classes<\/li><li>Domains<\/li><li>Chart of Dramatica Types<\/li><li>Concerns<\/li><li>Chart of Dramatica Variations<\/li><li>Ranges<\/li><li>Chart of Dramatica Elements<\/li><li>Problems<br><\/li><\/ul>\n\n\n\n<p>XIII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-13\/\" target=\"_blank\" rel=\"noreferrer noopener\">Domain Descriptions<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Matching Points of View to the Chart<\/li><li>Objective Story Domain<\/li><li>Main Character Domain<\/li><li>Obstacle Character Domain<\/li><li>Subjective Story Domain<br><\/li><\/ul>\n\n\n\n<p>XIV.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-14\/\" target=\"_blank\" rel=\"noreferrer noopener\">Concerns, Ranges and Problems<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Domains and Beyond<\/li><li>Concerns<\/li><li>Ranges<\/li><li>Problems<br><\/li><\/ul>\n\n\n\n<p>XV.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-15\/\" target=\"_blank\" rel=\"noreferrer noopener\">Deep Theme Theory<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>The Thematic Argument<\/li><li>Premise and the Thematic Argument<\/li><li>Additional Appreciations<br><\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Plot<br><\/p>\n\n\n\n<p>XVI.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-16\/\" target=\"_blank\" rel=\"noreferrer noopener\">Elements of Structure: Plot<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Plot vs. Storyweaving<br><\/li><\/ul>\n\n\n\n<p>XVII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-17\/\" target=\"_blank\" rel=\"noreferrer noopener\">Plot Appreciations<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Goal<\/li><li>Requirements<\/li><li>Consequences<\/li><li>Forewarnings<\/li><li>Dividends<\/li><li>Costs<\/li><li>Prerequisites<\/li><li>Preconditions<br><\/li><\/ul>\n\n\n\n<p>XVIII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-18\/\" target=\"_blank\" rel=\"noreferrer noopener\">Plot Progression<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Acts (Another View: 3 Act Progressions)<\/li><li>Sequences (Three Act Progressions &amp; Four Act Progressions)<\/li><li>Scenes (What&#8217;s in a Scene? &amp; Characters in Scenes)<\/li><li>Events (Events and Domains &amp; Events Masquerading as Scenes)<br><\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Genre<\/p>\n\n\n\n<p>XIX.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-19\/\" target=\"_blank\" rel=\"noreferrer noopener\">Elements of Structure: Genre<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Modes of Expression<\/li><li>Grid of Dramatica Genres<\/li><\/ul>\n\n\n\n<p class=\"has-text-align-center has-medium-font-size\">SECTION TWO: THE ART OF STORYTELLING<br><\/p>\n\n\n\n<p><strong>XX.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-20\/\" target=\"_blank\" rel=\"noreferrer noopener\">SECTION TWO: The Art of Storytelling<\/a><\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Foundations<\/strong><\/li><li><strong>The Four Stages of Communication<br><\/strong><\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Stage 1: Storyforming<strong><br><\/strong><\/p>\n\n\n\n<p>XXI.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-21\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storytelling and Character Dynamics<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Resolve: Change or Steadfast?<\/li><li>Direction: Stop or Start?<\/li><li>Approach: Do-er or Be-er?<\/li><li>Mental Sex: Male of Female?<br><\/li><\/ul>\n\n\n\n<p>XXII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-22\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storytelling and Plot Dynamics<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Work: Action or Decision?<\/li><li>Limit: Timelock or Optionlock?<\/li><li>Outcome: Success or Failure?<\/li><li>Judgemnt: Good or Bad?<br><\/li><\/ul>\n\n\n\n<p>XXIII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-23\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storytelling and Storyforming Structural Appreciations<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Selecting the Domains in Your Story<\/li><li>Picking the Proper Classes for the Domains in Your Story<br><\/li><\/ul>\n\n\n\n<p>XXIV.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-24\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storytelling and Plot Appreciations<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Static Plot Appreciations<\/li><li>Progressive Plot Appreciations<\/li><li>Acts<br><\/li><\/ul>\n\n\n\n<p>XXV.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-25\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storytelling and Thematic and Character Appreciations<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Change Characters and the Crucial Element<\/li><li>Steadfast Characters and the Crucial Element<br><\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Stage 2: Storyencoding<br><\/p>\n\n\n\n<p>XXVI.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-26\/\" target=\"_blank\" rel=\"noreferrer noopener\">Introduction to Story Encoding<\/a><br><br>XXVII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-27\/\" target=\"_blank\" rel=\"noreferrer noopener\">Encoding Objective Characters<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Archetypal Characters<\/li><li>Complex Characters<br><\/li><\/ul>\n\n\n\n<p>XXVIII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-28\/\" target=\"_blank\" rel=\"noreferrer noopener\">Encoding Subjective Characters<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>The Main Character is not necessarily the Protagonist<\/li><li>Encoding Mental Sex<br><\/li><\/ul>\n\n\n\n<p>XXIX.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-29\/\" target=\"_blank\" rel=\"noreferrer noopener\">Encoding Theme<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Encoding the Objective Story Theme<\/li><li>Encoding Theme for the Other Throughlines<br><\/li><\/ul>\n\n\n\n<p>XXX.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-30\/\" target=\"_blank\" rel=\"noreferrer noopener\">Encoding Plot<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Encoding Progressive Plot Appreciations<\/li><li>Signposts and Journeys<\/li><li>Main Character Domain Plot Progression<\/li><li>Obstacle Character Domain Plot Progression<\/li><li>Subjective Story Domain Plot Progression<br><\/li><\/ul>\n\n\n\n<p>XXXI.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-31\/\" target=\"_blank\" rel=\"noreferrer noopener\">Encoding Genre<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Medium &amp; Format<br><\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Stage 3: Storyweaving<br><\/p>\n\n\n\n<p>XXXII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-32\/\" target=\"_blank\" rel=\"noreferrer noopener\">Introduction to Storyweaving<\/a><br><br><br>XXXIII.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-33\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storyweaving and Structure<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Storyweaving Static Appreciations<\/li><li>Storyweaving Characters<\/li><\/ul>\n\n\n\n<p><br>XXXIV.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-34\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storyweaving and Storytelling<\/a><\/p>\n\n\n\n<p>Spatial Techniques<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Building Size<\/li><li>Red Herring<\/li><li>Meaning Reversal<\/li><li>Message Reversals<\/li><\/ul>\n\n\n\n<p>Temporal Techniques<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Building Importance<\/li><li>Non-Causality<\/li><li>Out of Sequence Experiences<\/li><li>Flashbacks and Flash-forwards<\/li><\/ul>\n\n\n\n<p><br>XXXV.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-35\/\" target=\"_blank\" rel=\"noreferrer noopener\">Storyweaving Tips<\/a><\/p>\n\n\n\n<p>Tips for Short Stories<br>Tips for Episodic Television Series<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Characters in Episodic Series<\/li><li>Plot in Episodic Series<\/li><li>Theme in Episodic Series<\/li><li>Genre in Episodic Series<\/li><\/ul>\n\n\n\n<p>Tips for Multi-Story Ensemble Series and Soap Operas<br>Tips for Novels<br>Tips for Motion Pictures<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>The Rule of Threes<\/li><li>Hand-offs<br><\/li><\/ul>\n\n\n\n<p class=\"has-medium-font-size\">Stage 4: Story Reception<br><\/p>\n\n\n\n<p>XXXVI.&nbsp;<a href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-36\/\" target=\"_blank\" rel=\"noreferrer noopener\">About the Audience<\/a><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Writing for oneself<\/li><li>The Author as Main Character<\/li><li>Writing for Groups<br><\/li><\/ul>\n\n\n\n<p>XXXVII.<a rel=\"noreferrer noopener\" href=\"http:\/\/storymind.com\/dramatica\/dramatica_theory_book\/chapter_37.html\" target=\"_blank\">\u00a0<\/a><a rel=\"noreferrer noopener\" href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-37\/\" target=\"_blank\">A Quick Lesson In Propaganda<\/a><br><br>XXXVIII.\u00a0<a rel=\"noreferrer noopener\" href=\"http:\/\/dramaticapedia.com\/site-map\/dramatica-theory-book\/dramatica-theory-book-chapter-38\/\" target=\"_blank\">Adaptation<\/a><\/p>\n\n\n\n<p><\/p>\n<p id=\"obi_random_banners_posts\" class=\"obi_random_banners_posts\"><a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/www.amazon.com\/Man-Made-First-Hour-Event-ebook\/dp\/B09WYXMFBV\/\"><img decoding=\"async\" src=\"https:\/\/storymind.com\/blog\/wp-content\/uploads\/2023\/11\/Screenshot-2023-11-27-3.58.58-PM.png\" class=\"aligncenter\"><\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>Preface Dramatica is a revolutionary theory of how and why stories work that can be used to analyze existing stories for flaws and to create original works with flawless structure. This is a free online version of the original book that documented the theory, which became the basis for the Dramatica line of software products [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5997","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P36xpN-1yJ","jetpack_likes_enabled":false,"_links":{"self":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/pages\/5997","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/comments?post=5997"}],"version-history":[{"count":1,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/pages\/5997\/revisions"}],"predecessor-version":[{"id":6000,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/pages\/5997\/revisions\/6000"}],"wp:attachment":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/media?parent=5997"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}