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





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 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


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


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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You Got Me! (Both of Us!)

by Melanie Anne Phillips
creator StoryWeaver, co-creator Dramatica

Arthur says:

Iím a great Dramatica fan so Iím a bit reluctant to take up Melanieís challenge to refute the Dramatica Theory. My question was virtually identical to Armandoís but he put it better. Theory without practical application is not very helpful. Letís try another. Supposing you wanted to create a story or play about a gifted female whose unique ability was "supreme self-confidence" and her critical flaw was "sophisticated self-deception." How would dramatica
help you arrive at those characteristics in order to get a Storyform? It canít, can it? I refute the theory thus.

Okay, so Iím halfway into a deep consideration of this issue when suddenly it hits me...

"Wait just a cotton pickiní minute!" I yell out loud to no one in particular.

Then, no one in particular shouts back, "Whatís biting you?!"

I reply with recovered aplomb, "Did you notice the example in Arthurís question?" "Yeah, so what?" no one taunts. "Think about it." I bark bemusedly, "Arthur describes "a gifted female whose unique ability was supreme self-confidence and her critical flaw was sophisticated self-deception." Sound like anyone you know?"

"Sounds like both of us," No One replied thoughtfully, "but , weíre both the same person and you realize, of course, that you are having a conversation with your self - and out loud, I might add."

"True, but in fact, you are my Self-Confidence, and I am your Self-Deception (and pretty sophisticated too, "I" might add!"

"I guess that makes ME "supreme" then! Wink wink, nudge nudge, say no moreóPLEASE say no more!"

"Ah, but that would prove Arthurís point, wouldnít it?"

"What do you mean?"

"Well, if your self-confidence is undermined by my self-deception, then the Dramatica theory is refuted!"

"Whoa, hold on there, pardner! First of all, I believe it is quite the contrary. My Confidence is only bolstered by your self-deception. I mean, think about it. The more Self-Deceived "we" become, the more our confidence grows."

"Blimey, but youíre right!"

"I was confident I would be..."

"Okay, that was "first of all," so is there more?"

"But of course!" Suppose Arthur was serious in his question (though I seriously doubt it). Then, the first point he makes is almost to say that a theory is invalid if it isnít useful."

"Now just hold on.... He didnít exactly say THAT."

"True, but since he was setting up a refutation of the theory, he established a context in which the "value" of a theory is tied to its practical usefulness. Then, by shifting the subject of the question to the validity of the concepts there is an emotional carry-over that appears to strengthen the logistic contention."


"So, second of all, there are lots of theories that are almost totally wrong and still have a few concepts of practical value. And there are also a lot of esoteric theories which are almost certainly true, yet have no practical application at all. In conclusion, the ability to USE a theory has absolutely nothing to do with its validity."

"Iíll give you that one, even though I donít think it is self-deceptive enough."

"Fine, letís press on.... I think weíve already dealt with the central contention that self-deception is a critical flaw to confidence. Arthur then asks a seemingly rhetorical question, "How would dramatica help you >arrive at those characteristics in order to get a Storyform? " The rhetorical answer is, since that combination doesnít work, Dramatica will not provide such a conjunction of story points."

"íScuse me.... but isnít there ANY time in which I, self-deception, might undermine your self-confidence as a critical flaw?

"Sure, but not in a direct manner. In fact, a number of other writers on this list proposed very serious descriptions of how the "feel" Arthur was describing was quite achievable and in much more depth and nuance than his example would seem to indicate. Perhaps one of the most interesting came from Bill, who said:

"- Since the story is about this person, are these two attributes really the Unique Ability and the Critical Flaw? Perhaps self-deception is the Problem and self-confidence is the Focus. (Or some other combination like that.) Consider this mix of appreciations, straight from the Story Engine:

PROBLEM: Non-Accurate
SOLUTION: Accurate
FOCUS: Expectation
DIRECTION: Determination

(Itís interesting that the self-deception gets sort of a double-whammy with the problem being Non-Accurate and the Critical Flaw being Fantasy.)"

"Well, Ms. "Supreme Self-Confidence"... I suppose youíre pretty pleased with yourself."

"But of course! Still there are yet two remaining points to be made."

"Pray tell, what are they?"

"First, Arthur responds to his rhetorical question, "How would dramatica help you arrive at those characteristics in order to get a Storyform? " with "It canít." Thatís not quite accurate...."

"Ah, so this is where self-deception comes into play?"

"Sort of... Itís not that Dramatica "canít" help you do arrive at that combination. Itís that it "wonít."" If it did, it would be leading you right into an invalid storyform."

"Is that it, are you FINISHED YET!!!"

"Almost. The final line of Arthurís post reads, "I refute the theory thus."


"So you donít refute a theory by refuting an application of it."


"Letís start at the beginning... Dramatica starts with a hypothesis: Every complete story is an analogy to a single human mind, trying to deal with an inequity." The hypothesis says "what" but not "how."

"Go on."

"The "theory" of Dramatica describes a structure and the dynamics which manipulate it. That winds up the model with dramatic tension."


"Now, each of the story points is "mapped" onto that structure. Each is determined by a separate formula, each is a separate application. "

"So are you saying some of the algorithms in Dramatica some of the formulas might be wrong?!"

"Sure, they "might" be. I personally donít think so (remember I AM self-confidence), but of course it is possible. You see, the real value of the theory is to look at every story as a SINGLE mind in which the characters, plot, theme, and genre are but aspects: families of different kinds of thought which interact so as to mimic the internal processes of the mind coming to a solutionóit makes them TANGIBLE, so we can watch our own internal mechanism to learn how to best respond under different conditions."

"Whoa! Thatís a mouthful!"

"You bet it is, but itís really what Dramatica is all about. If writers can just start looking to each story as a complete mind, as a person with a personality (genre), methods (plot), value standards (theme), and driving forces (characters), then the parts of stories would start to work together SO much better!"

"And if some of the particular formulas DO turn out to be in error?"

"Then they need to be re-written so they are more accurate. You see, the "theory" of Dramatica canít really be proven or disproven. Either stories can be understood as a model of the mind or not. But if they can, then the applications and formulas of the theory need to be constantly questioned, amended, discarded, and added to. The advancement of practical applications and understanding of the theory is an ongoing process which will likely never be completed. After all, how much is there to learn about the mechanism of the mind? The key to improving the theory is to call every suspicious formula into question, lay it out for public viewing. The theory will only "advance" into more practical use if others more skilled than "you" (self-deception) or "I" (confidence) contribute our efforts."

"Thatís quite a concession, Confidence, to admit there are others more capable and you."

"Hey, you know as well as I do that in spite of our self-deception to believe we are some sort of next-gen Einstein, weíre really just a couple of smart cookies who worked with olí Chris for a few years, tripped over a new concept (the Story Mind) because we were too intellectually inept to know better, and then spent the better part of a decade putting in good old-fashioned hard work to try and document it and make something out of it. Truth of the matter is that weíve gone about as far as we can go! In your heart, you know its true. You keep thinking of yourself as 18, but just because weíre both 46 doesnít mean weíre each 23!!!"

"Yeah, youíre right. I, of all people, canít deceive myself on that one. Itís time to hand it off to those with degrees, and practical experience. Time to put it out there, let the world have it and make of it what they will."

Then, both halves of myself joined in unison, both confidence and self-deception in Greek Chorus "singing":

"Weíll meet again, donít know where, donít know when..."

"Stop it!" I shouted to both of them. "Shut up!"

"And now, the hour is late, and I have reached the final curtain..."

"I said SHUT UP!!! I still have a lot of good, creative years in me. LOTS.... REALLY!"

"Catís in the cradle and the silver spoon, little boy blue and the man in the moon..."

"WILL YOU PLEASE SHUT UP!!!!! I know, Iíll show you! Iíll come up with a whole NEW theory. Something even more extensive and complex than Dramatica! Iím not dead yet!"

"Itís a dead manís party..."

"Ah, the hell with it."


$149.95                       $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

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 Engineô 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 Cardsô 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 Alone

By itself Dramatica 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.

How They Work Together

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 Either Program 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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