Dramatica a new theory of story epub

I couldn't offer a better review than to reprint my letter of thanks to the authors: Dear Ms. Phillips and Mr. My novel, and sequel manuscript, have gone from flat to full, in record time, a little exaggeration - not much.

I can not say I am familiar with the nuance of all 64 boxes yet, excuse the juvenile description, but its been like stepping out of the dark. The theory has served more than as a writing tool for me. Does that sound nuts? It actually works. I'm not there yet, writing my own story, and never will be I'm certain, but to aspire. Most importantly, you guys have showed me what people really want.

We want it in the books we read and the movies we watch. We want it in the products we buy and services we receive, the affiliations we maintain and interests we pursue.

We want it in the life we live. But more than want, we need stories. Stories are how we learn and understand, how we analyze and formulate decision making strategies now experimentally proven. Stories are how we make ourselves understood, how we discuss and advance thought.

How we win others to our viewpoint, to favorable assessment at least. Thanks again. It starts pretty good, with its concepts of Characters and various archetypes, getting into Complex Characters, and all the while giving examples with Star Wars, Wizard of Oz etc, it has you nodding and thinking wow this is pretty cool, even maybe a few "aha" moments.

Followed by the 4D characters, and the "a complete story must have all 64 elements" stuff Then your off into that 4 Classes, which drill down and down into 64 Variations. Which are kind of the same as Elements, but not, but are. When you start to read the stuff about Plot structure, holy craps its like some sort of labyrinth that would baffle even the Minotaur himself.

Oh and they talk about how Dramatica works as both a 3 and 4 act structure, and then proceed to confuse the crap out of you by referring to both constantly.

Pick one and stick with it! The last 3rd of the book is just definitions of Dramatica terminology, which isn't nearly as helpful as I thought it would be ie give me an A-Z of Elements, then an A-Z of Variations and so on, so its easier to lookup.

Honestly, I feel like there is some pretty good theory hiding in there, but I'm convinced the authors simply lack the skill in technical writing to pull it off. And thats what the book is trying to be, very technical in its approach. For this, its fails. Yet, for a story to be complete, ALL essential considerations need to be addressed to prevent holes. Do you know the answers to these 12 questions?

If not, there may be some key part of your story missing. Read on to find out how to incorporate these concepts into your own work, thereby making it stronger and more meaningful. How come I've never heard of Dramatica? Chances are you're aware of Robert McKee or Linda Seger, but have never come across our own particular model of story as human psychology.

In this comprehensive article, Dramatica co-creator Chris Huntley takes the time to illustrate the differences and yes, even the similarities, between these paradigms. Pretty heady stuff, right? Learn more The book that started it all.

As we shall explore shortly, the Main Character doesn't have to be the soldier leading the charge in the battle as a whole. Our Main Character might be any of the soldiers on the field: the cook, the medic, the bugler, or even the recruit cowering in the bushes. For a moment, keep yourself in the shoes of the Main Character. You are right in the middle of the story's battle. Smoke from dramatic explosions obscures the field. You are not absolutely sure which way leads to safety.

Still, before there was so much turmoil, the way was clear and you are confident in your sense of direction. Then, from out of the smoke a shadowy figure appears blocking your way. You can't see well enough to tell if it is friend or foe. It might be a compatriot trying to keep you from stepping into a mine field.

Or, it might be the enemy luring you into a trap. What to do! Do you keep on your path and run it over or try another path instead? The shadowy figure is your Influence Character. Which way to go is the decision that faces a Main Character as their "leap of faith.

To make an argument, both sides must be represented. To completely explore the issue at the heart of a story, an Impact Character must present an alternative approach to the Main Character. The Influence Character Throughline describes the advocate of the alternative path and the manner in which its impact on the Main Character grows.

As soon as the Main Character encounters their Influence Character, a skirmish ensues in the midst of the battle as a whole. The two characters close in on one another in a theatrical game of "chicken. The Main Character shouts at their Influence Characterto get out of the way.

The Influence Character stands fast, insisting that the Main Character change course, and even pointing toward the fork in the road. As they approach one another, the interchange becomes more heated until the two are engaged in heart to heart combat.