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32 PAGES OF VINTAGE DRAMATICA!
GREAT STORIES
SCREENPLAY SYSTEMSPresents
THE SECRET OF
Based On Materials Developed By Melanie Anne Phillips & Chris Huntley
GREAT STORIESTHE SECRET OF
200
250
CANADANO. 1JAN
S
The Muse
The Writer
The Executive
FEATURING…
The Secret of Great Stories: Volume 1, “How Does Story Work?”
Written by Mark Haslett and Stephen Greenfield
Based on a theory and materials developed by Melanie Anne Phillips and Chris Huntley
Illustrations by Mark Haslett
Copyright © 1999 Write Brothers Incorporated ALL RIGHTS RESERVED
Dramatica is a registered trademark of Write Brothers Incorporated
Write Brothers Incorporated, 138 Brand Blvd, Suite 201Glendale, California, United States of America, 91203
Phone: 1-800-84-STORY or 818-843-6557 Fax: 818-843-8364
Visit our websites at www.dramatica.com or www.screenplay.comor email us at [email protected]
SECOND EDITIONOctober 1999
WE ALL THINK WE KNOW HOW STORIES WORK. WE SEE THE DARNED THINGS EVERYWHERE: MOVIES, BOOKS, TV,COMICS. THOSE WHO ACTUALLY SIT AND WRITE, HOWEVER, KNOW THAT WHAT STORY REALLY REALLY REALLY REALLY REALLY IS... UH... GEE, WELLIT’S COMPLICATEDCOMPLICATEDCOMPLICATEDCOMPLICATEDCOMPLICATED! READ ON, AS SCREENWRITER PENN WRIGHT GETS (WITH THE HELP OF DRAMATICA) A FASCINAT-ING ANSWER TO THAT EVER-LOVIN’ QUESTION:
ISN’T THISGREAT SO FAR?
...SO, THEN OUR HERO SEES THETERRORISTS HAVE A BOMB!STILL DRESSED LIKE A WOMAN, HELEAPS INTO ACTION...CINDY,I DON’T HEAR YOUCHEERING.
PENN, THIS IS JUST LIKEALL YOUR OTHER STORIES!THERE’S NO DEPTH! YOUDON’T EVER OPEN UP,IN YOUR WRITING OR WITH ME.
NO DEPTH? I’VE SOLDTHREE SCRIPTS!
YOU DON’T GET IT.
YOUR STORIESAREN’T YOU. THEYTELL ME YOU’RE APRETENDPRETENDPRETENDPRETENDPRETEND ARTIST.
I’M AFRAID WE’RE AT ADEAD END AND I NEED A
RELATIONSHIP THATGROWS WITH ME. I NEED
B-BUT...B-BUT...B-BUT...B-BUT...B-BUT...
PENNPENNPENNPENNPENN! WHAT’S UP,ROMEO?
HI DAMIEN.CINDY JUST LEFT ME‘CAUSE I’M NOT OPENWITH HER.
HEY! IF I PUT DEPTHINTO THIS SCRIPT, I CAN SHOW HER WHOI AM! MAYBE I CAN
GET HER BACK!
LET ME HELP.I’M A DEVELOPMENTEXEC., YOU KNOW!
TIME TO THINK.
LET’S GO!
HELLO, W
HAT’S
WHAT’S
WHAT’S
WHAT’S
WHAT’S
THIS?
THIS?
THIS?
THIS?
THIS?
A TIN
Y
LIGHT FOLLO
WS
PENN, MENACIN
GLY. I KNOW WHATCINDY’S SAYING:WRITE FOR THE
AS AN EXEC,
AUDIENCE!
CREATECREATECREATECREATECREATEEMOTIONEMOTIONEMOTIONEMOTIONEMOTION!TIE THE HERO’SGIRL TOTHAT BOMB!FOLLOWTHEDIE HARDDIE HARDDIE HARDDIE HARDDIE HARDFORMULA!
O.K., IF FORMULACAN ADD DEPTH. IWISH THERE WAS
ANOTHER WAY,THOUGH.
WHY NOT WRITETHE STORY YOU
WANT TO WRITE?
WHO’S THAT?
YOUR MUSE,DARLING! WITH
MODERN WRITINGADVICE.
I THOUGHTMUSES DISAPPEARED
IN THE WRITER’SSTRIKE!
NOT TRUE,AND BE GLAD‘CAUSE YOURSTORY’S INTROUBLE.
TELL ME WHATYOU WANT ANDI CAN HELP.
I’VE GOT A GOOD STORY IDEA,BUT IT NEEDS “HEART.” I CAN’TTELL WHERE TO ADD STUFF AND
WHAT TO LEAVE ALONE.
I USED TOGIVE ELIXIRSTO ANCIENT
GREEKPOETS...
...BUT YOU MAYWANT A WHOLENEW APPROACH. TRY DRAMATICA.
“CREATIVE WRITING PARTNER?”
WHATWRITER NEEDSCOMPUTERS TO
WRITE FOR HIM?
DRAMATICADRAMATICADRAMATICADRAMATICADRAMATICA WON’TWRITE YOUR STORY,IT HELPS YOU GET
YOUR STORY RIGHT!
SOUNDS LIKEGOOD AD-COPY
TO ME.
DRAMATICA’S A TOOL BASED ON A NEW THEORYOF STORY. BY ANSWERING
ITS QUESTIONS, YOU GUIDEDRAMATICA TO CREATE A
“STORYFORM” - THE BLUEPRINTOF YOUR STORY.
A STORYFORM HASEVERYTHING YOU NEEDTO MAKE YOUR STORY
COMPLETE. IT WILL HELPYOU GET THAT EMOTIONAL
SIDE FULLY DEVELOPED.
COMPUTERS CAN’TDEVELOP STORIES.
PSHAW!PSHAW!PSHAW!PSHAW!PSHAW!HOW COULD THEY?
I JUST GOTTA WORKON THIS FORMULA
SOME MORE!
WATCH IT! THESETHINGS AREN’T FREE!
DRAMATICA WORKSUSING THE STRUCTUREAND DYNAMICS INHERENTIN ALL STORIES. YOU CAN’TJUST THROW IN EMOTIONAL“STUFF” TO FIX YOUR SCRIPT.
STORY IS LIKEAN ARGUMENT:
EVERY PART RELATES TOALL THE OTHERS. YEAH?
CREATING A STORYFORMIS LIKE DRAWING A
CIRCLE BY USING THEPOINTS ALONG ITS EDGE.
AFTER YOU SET A FEWPOINTS IN PLACE, YOU
CAN SEE WHERETHE REST HAVE
TO FALL..
STORIES WORK THESAME WAY. ANYTHING YOU
PUT IN AFFECTS HOW THE RESTWILL HAVE TO WORK OUT.
LIKE WHENEVERYTHING FALLSINTO PLACE - WHENYOU GET A SENSE
OF CLOSURE.
PRETTY MUCH. WHENYOU THINK OF IT,
WHAT DO WE REALLYKNOW ABOUT
STORIES - ABOUTHOW THEY WORK?
I I I I I KNOWSTORY, I’VESTUDIED ALLTHE GURUS!IT HAS CHARACTER,PLOT, THEME, ANDNARRATIVE DRIVE!
...AND IT WORKSWHEN YOU SELL
ONE!
BUT WHAT EXACTLYISISISISIS A STORY?
I DON’T HAVEAN EXACTDEFINITION. IJUST KNOW WHENI SEE ONE.
WELL, THAT’S WHEREDRAMATICA BEGAN, BYTRYING TO EXPLAIN STORYCOMPLETELY.
HOLD ON,DARLINGS!
ONE CONCEPT THATSETS DRAMATICA APART
IS CALLED THE “STORY MIND.”“STORY MIND.”“STORY MIND.”“STORY MIND.”“STORY MIND.”
THIS IS THE IDEA THATA COMPLETE STORY IS THEMODEL OF A SINGLE MINDAT WORK FINDING THESOLUTION TO A SINGLEPROBLEM.
YOUR STORY’S CHARACTERS, PLOT,CHARACTERS, PLOT,CHARACTERS, PLOT,CHARACTERS, PLOT,CHARACTERS, PLOT,THEME,THEME,THEME,THEME,THEME, AND GENREGENREGENREGENREGENRE ARE LIKE THETHOUGHTS COMING OUT OF THISMIND AS IT WORKS.
THAT’S STORY?IT’S JUST A BIGBRAIN! WHERE’STHE STRUCTURE
IN THAT?
THIS ISTHE BIG
PICTURE...
...FOR STRUCTUREWE’LL HAVE TO GO
INSIDE.
PRETTYCEREBRAL.
THIS IS WHERESTRUCTURE COMES
FROM. THESE DOORSLEAD TO THE FOUR
PERSPECTIVES...
OVERALLSTORY
MAINCHARACTER
IMPACTCHARACTER
MAIN VS.IMPACT
...WHICH YOU FIND IN ANY STORY.THE STORY MIND EXPLORESTHESE IN LOOKING FOR THE
PROBLEM AT ITS CENTER.
TAKE DOOR #1,PENN. LET’S GETTHE HECK OUT OF
HERE!
OVERALLOVERALLOVERALLOVERALLOVERALLSTORYSTORYSTORYSTORYSTORY
“THAT’S THE
OVERALLOVERALLOVERALLOVERALLOVERALLSTORYSTORYSTORYSTORYSTORY
VIEW!”
“BE CAREFUL“BE CAREFUL“BE CAREFUL“BE CAREFUL“BE CAREFULIN THERE...”IN THERE...”IN THERE...”IN THERE...”IN THERE...”
“THESE FOUR PERSPECTIVES CREATE THE THOUGHTS OF THE STORY MINDAS IT WORKS OUT ITS PROBLEM.”
“THE OVERALL STORY VIEW SEESTHE ENTIRE STORY FROM ADISTANCE...”
“AS IF THE STORY WAS A BATTLEWHICH THE OVERALL STORY VIEWWATCHES FROM A HILL. IT SEESEVERYTHING THAT HAPPENS, BUT ISNOT REALLY INVOLVED.”
“THE MAIN CHARACTER VIEW ISTHE FIRST PERSON, “I” PERSPECTIVEOF ONE SPECIAL SOLDIER INTHAT BATTLE.”
MAINCHARACTER
“THROUGH HIMWE EXPERIENCEHOW IT FEELS TOGO THROUGH THESTORY, AS IF WEWERE THE MAINCHARACTER.”
“THERE’S ONE OTHER SPECIALCHARACTER IN EVERY STORY,FORCING THE MAIN CHARACTERTO FACE HIS PERSONALPROBLEMS. THIS IS THEIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTER.”
IMPACTCHARACTER
THE IMPACTCHARACTER’S IMPACT ON
THE MAIN CHARACTERCREATES AN ARGUMENT
BETWEEN THEM, WHICH ISTHE STORY MIND’S FOURTH
POINT OF VIEW:THE MAIN VS. IMPACTTHE MAIN VS. IMPACTTHE MAIN VS. IMPACTTHE MAIN VS. IMPACTTHE MAIN VS. IMPACT
STORY.STORY.STORY.STORY.STORY.
“THE IMPACT CHARACTERHAS THE STRONGESTPERSONAL IMPACT ON THEMAIN CHARACTER -MAKING HIM QUESTIONHIS DEEPEST BELIEFS.”
ISN’T THAT JUST AFANCY NAME FORTHE ANTAGONIST?
DIFFERENT KINDS OFCHARACTER SEEN FROM TWODIFFERENT POINTS OF VIEW.
THE ANTAGONIST ANDPROTAGONIST ARE OVERALL
STORY CHARACTERS, SEEN BYTHEIR FUNCTION IN THE
NO!NO!NO!NO!NO!
OVERALL STORY.
THOSE ARE TWO
THE MAIN CHARACTER ANDIMPACT CHARACTER ARE
CHARACTERS WHOM WE DEALWITH EMOTIONALLY.
“THIS RELATIONSHIP BETWEEN THE MAIN ANDIMPACT CHARACTER IS THE EMOTIONAL HEART OFYOUR STORY. THESE TWO ARGUE ABOUT SOMEPERSONAL ISSUE UNTIL ONE OF THEM CHANGES ATTHE END.”
THESE FOUR PERSPECTIVES STRETCH FROM THE BEGINNING OF THE STORY TO THE END.THEY ARE ITS FOUR STRUCTURAL THROUGHLINES.THROUGHLINES.THROUGHLINES.THROUGHLINES.THROUGHLINES.
MAIN VS. IMPACT STORYMAIN VS. IMPACT STORYMAIN VS. IMPACT STORYMAIN VS. IMPACT STORYMAIN VS. IMPACT STORY
OVERALL STORYOVERALL STORYOVERALL STORYOVERALL STORYOVERALL STORYMAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTER
CAN I SEE ANEXAMPLE? REMEMBER HARPER LEE’S
TO KILL A MOCKINGBIRD?THE MAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTER IS A
GIRL NAMED SCOUTSCOUTSCOUTSCOUTSCOUT.
SURE.SURE.SURE.SURE.SURE.
WE SEE EVERYTHING THROUGH HER EYES,BUT THE PROTAGONIST OF THE
OVERALL STORYOVERALL STORYOVERALL STORYOVERALL STORYOVERALL STORY IS HER FATHER, ATTICUS.
“THE OVERALL STORY THROUGHLINE FOLLOWSTHE TRIAL OF A WRONGLY ACCUSED MAN. THEANTAGONIST IS HIS ACCUSER, BOB EWELL.”
“TO SCOUT, THOUGH, LOCAL BOOGEY-MAN,BOO RADLEYBOO RADLEYBOO RADLEYBOO RADLEYBOO RADLEY IS HER IMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTER.”
IN THE MAIN VS. IMPACT STORYTHE MAIN VS. IMPACT STORYTHE MAIN VS. IMPACT STORYTHE MAIN VS. IMPACT STORYTHE MAIN VS. IMPACT STORY,BOO EVENTUALLY FORCES SCOUT TOCHANGE HER PREJUDICE ABOUT HIM.
YEAH, I SEE THOSETHROUGHLINES. I’M
WRITING A SCRIPT THATI CALL “EVERY MAN FOR
HIMSELF.”
I’VE NEVER HEARD OFTHE IMPACT CHARACTER
BEFORE, AND I DON’THAVE ONE.
A MISSING IMPACTCHARACTER CAN HAMSTRING
A STORY’S EMOTIONALINVOLVEMENT.
MY MAIN CHARACTER ISIRVING RICHTER, EX-NAVYSEAL WHO IS NOW WRITINGA “LOVE” COLUMN USING AWOMAN’S NAME. WHEN HISWRITING PERSONA IS HIREDAS SPOKESWOMAN FOR ACRUISE-LINE, HE’S FORCED TODRESS AS A WOMAN TOPROTECT HIS IDENTITY.
HE’S CAUGHTTHIS WAY WHEN
TERRORISTS ATTACKTHE CRUISE. TO SAVE
THE DAY, HE HAS TO FIGHTAS A WOMAN. THE IMPACT
CHARACTER WOULD PUSH HIM TODO THIS-THAT SHOULD BE HIS
WIFE!
CAN SHE IMPACT HIMEMOTIONALLY ACT BY
ACT THROUGH THESTORY?
YEAH! SHE COULD PUSHHIM TO TAKE THE CRUISE-JOB AND THEN GOALONG WITH HIM ONTHE TRIP.
DEVELOP HER, THENTIE HER TO THE BOMB.
WE CAN GET THISFROM DIE HARDDIE HARDDIE HARDDIE HARDDIE HARD! LET’S
GET OUT OF HERE.
“THIS IS DIFFERENTFROM ANYTHINGYOU’VE EVERHEARDABOUTSTORY.”
“SYMBOLIZING YOUR STORYFORM GETSYOU TO FULLY KNOW YOUR STORY.”
“THEN COMES STORY WEAVINGSTORY WEAVINGSTORY WEAVINGSTORY WEAVINGSTORY WEAVING DECIDINGHOW TO PRESENT THIS STORY TO AN
AUDIENCE—WRITING YOUR FIRST DRAFT!”
“DRAMATICADRAMATICADRAMATICADRAMATICADRAMATICA HELPS YOU THROUGHTHESE STAGES SO YOUR STORY ENDS UP
COMMUNICATING EXACTLY THEFEELING YOU INTEND.”
TREATMENT ORFIRST DRAFT!
HOLD ON,LET’S MEET
FIRST.I’M CALLIOPE,THE MUSE OF
STORY.
MAGICAL POWERS DON’T SELLSCRIPTS, DEVELOPMENT PEOPLEDO! LET’S COPY DIE HARDDIE HARDDIE HARDDIE HARDDIE HARD ANDBE DONE WITH IT!
NOTHING SELLSLIKE A STRONG
COMPLETESTORY.
I’M HERE TO HELP YOUCOMPLETE THE STORY YOU
WANT TO WRITE, PENN.
...AND THEPROGRAM WILLINSPIRE ME?
NO, YOU HAVEINSPIRATION,
DRAMATICA WILLHELP CRAFT IT.
“LET ME SHOW YOU DRAMATICA’S12 ESSENTIAL QUESTIONS. THEY’LLCREATE THE BLUEPRINT FOR YOUR
STORY’S THROUGHLINES, CHARACTER,PLOT, AND THEME.”
“THE 12 ESSENTIAL QUESTIONS COME INTHREE GROUPS: THE FIRST FOUR QUESTIONS SETUP THE MAIN CHARACTER, THEN FOUR QUESTIONS
ABOUT PLOT, AND FINALLY FOUR QUESTIONSABOUT THE OVERALL STORY THROUGHLINE.”
“THESE ANSWERS GET YOU A SINGLESTORYFORM, DETERMINING YOUR
STORY’S STRUCTURESTRUCTURESTRUCTURESTRUCTURESTRUCTURE.”
“THE NEXT STEP IS TO WRITEEXAMPLES OF HOW THATSTRUCTURE PLAYS OUT IN
ILLUSTRATINGILLUSTRATINGILLUSTRATINGILLUSTRATINGILLUSTRATING.”
ALRIGHT, I’LLLOOK AT YOURQUESTIONS.CINDY WOULDWANT ME TO.
FIRST, WHAT DO WEKNOW ABOUT YOURMAIN CHARACTER?
GREAT!
I KNOW EVERYTHING ABOUTHIM: WHERE HE WAS
TRAINED, WHAT KIND OF GUNHE USES, THE DRESSES HE
WEARS...
UH...GOOD. WELL...
THIS FIRST QUESTION SETS UP WHERETHIS GUY IS GOING IN YOUR STORY. “MAIN
CHARACTER RESOLVE” ASKS “WILL YOUR MAIN CHARACTER ULTIMATELY CHANGE CHANGE CHANGE CHANGE CHANGE OR
REMAIN STEADFASTSTEADFASTSTEADFASTSTEADFASTSTEADFAST?” EVERY MAINCHARACTER’S EITHER THE SAME AT THE END
OF THE STORY AS WHEN HE STARTED OUT, OR
DRAMATICA ASKS YOU TODETERMINE THIS RIGHT
HE’S CHANGED.
UP FRONT.
THAT’S EBENEEZERSCROOGE AND HIS IMPACTCHARACTER, THE GHOST OF
CHRISTMAS. WILL HECHANGE OR REMAIN
STEADFAST?
SCROOGE CHANGES,DUH!
ALL CHARACTERSCHANGE, OR ELSE
THERE’S NOGROWTH OR
DEVELOPMENT.
WELL, WHAT ABOUT DR.RICHARD KIMBLE IN THETHETHETHETHE
FUGITIVEFUGITIVEFUGITIVEFUGITIVEFUGITIVE, OR JAMES BONDIN MOST JAMES BOND
MOVIES—THESE ARE STEADFASTMAIN CHARACTERS WHO FORCE
THEIR IMPACT CHARACTERS TO CHANGE.
“RESOLVE” SHOWS HOWTHIS WILL WORK FOR
YOUR STORY.
IN MY STORY,IRVING SAVES THECRUISE AND WALKSINTO THE SUNSET
STILL DRESSED AS AWOMAN.
I LOVE IT!WHAT AN
IMAGE!
BUT WHAT DOES ITMEAN? HE’S SAVED THE
DAY, BUT WHAT HAPPENEDTO HIS CHARACTER?
I GUESS HE’SCHANGED, RIGHT?HE’S REACHED HIS“SENSITIVE SIDE.”
HOW ABOUT THIS: HE GETS ON THE BOAT
HATING HIS PEN-NAME.THEN THROUGH HIS
RELATIONSHIP WITHHIS WIFE HE
ABOUT THE TERRORISTS,DRESSED AS HIS PEN-NAME. NOW
HE SEES “HER” AS PART OF HIM.
CONFERENCEAND HAPPILY EXPLAINING
ENDS UP...
...GIVINGA PRESS
WOW, THAT’S WAY MORE CLEAR!
SO THIS IS ABOUT “CHARACTER ARC.”
DON’T BAFFLE PENN WITH YOUR DEVELOP-MENT TERMS. I’M ASKING WHETHER THE
MAIN CHARACTER ENDS UP DRIVEN BY HISORIGINAL MOTIVATION OR NOT.
SO STEADFAST CHARACTERSKEEP THE SAME MOTIVATION.
DO THEY GROW?
ALL MAIN CHARACTERS GROW,EITHER TO HOLD OUT MORE
STEADFASTLY OR TO CHANGE. THE NEXT QUESTION DEALS WITH
THIS TOO. MAIN CHARACTER GROWTHASKS, REGARDING HIS GROWTH, IS
THE AUDIENCE WAITING FOR SOMETHING TO STARTSTARTSTARTSTARTSTART
OR STOPSTOPSTOPSTOPSTOP?
THIS ALWAYS REFERS TO MAIN CHARACTERGROWTH, A “CHANGE” CHARACTER WILL GROWEITHER BY STARTING A NEW
CHARACTERISTIC OR STOPPING AN OLD ONE.
“STEADFAST” CHARACTERSWILL EITHER BE HOLDINGOUT FOR SOMETHING TO
START OR HOLDINGOUT FOR SOMETHING
TO STOP.
START OR STOP?THAT’S LIKE ASKING IF A GLASS IS “HALFFULL OR HALFEMPTY.” WHAT’S THE POINT?
THE POINT IS TOCLARIFY WHETHER THEMAIN CHARACTER’S PROBLEMIS BECAUSE OF WHAT ISTHERE THAT SHOULDN’T
BE, OR BECAUSE OF WHAT IS MISSING.
SCROOGE IS A CHANGE-STARTCHARACTER. HE’S STINGY, NOT
AGGRESSIVELY MEAN;WHICH IS THE
ARGUMENT THATGETS HIM TO
CHANGE.
IN THE 80’S THEYREWROTE SCROOGE AS
EXTRA MEAN-TO DOTHIS RIGHT WOULDMEAN REWRITING
THEARGUMENT
TO MAKE HIM CHANGE.
BUT THEY KEPT THE “START GIVING”ARGUMENT AND THE
STORY SUFFERED.
I GUESS IRVING STARTSTO LIKE HIS PEN-NAMEAND STOPS WORRYINGABOUT HIS MACHISMO.
YEAH. HEDOES BOTH!
YOU CAN WRITE IT EITHER WAY,BUT PICKING ONE DIRECTION MAKESTHE WHOLE STORY CLEARER. SHOULD
IT FEEL LIKE HE’S CAUSING HISPERSONAL PROBLEMS AND HAS TO
STOP, OR THAT HE’S LETTINGPROBLEMS GO TOO FAR AND
HAS TO START DEALINGWITH THEM?
HE’S TOO COMMITTED TO HIS“TOUGH-GUY” IMAGE. HE’S
ALREADY A SUCCESSFUL LOVECOLUMNIST, HE JUST HAS TOSTOP BEING ASHAMED OF IT.
THEN PICK STOP. NOWWE’RE GETTING TO KNOW
WHO IRVING IS.
CHARACTER THAT IWISH WOULD STOP.
I KNOW ANOTHER
WHOA! WHAT’SGOING ON?
THIS MAN WILLHELP DEMONSTRATE
THE NEXTQUESTION:
WHAT’S YOURMAIN
CHARACTER’SAPPROACH—
DO-ERDO-ERDO-ERDO-ERDO-EROR BE-ERBE-ERBE-ERBE-ERBE-ER? I CAN’T TAKE IT!
YOU’RE A DO-ER! YOU DIDN’TEVEN TRY TO COPE WITH HIS
NOISE. DO-ERS PREFER TOPROBLEM-SOLVE
EXTERNALLY. IF PENN WAS ABE-ER , HE’D JUST
TAKE IT?
NOT NECESSARILY. ABE-ER PREFERS TOPROBLEM-SOLVE
INTERNALLY.
LET’S WATCHA BE-ER AT
WORK.
DO-ER/BE-ERDOES NOT MEAN
ACTIVE/PASSIVE. EITHERAPPROACH MAY WORK TO SOLVEA PROBLEM. EVERYONE HAS A
PREFERENCE. THIS YOGI IS AN“ACTIVE” BE-ER. HISPOWERFUL PRESENCE
CAN WORK LIKE A PUNCHIN THE MOUTH.
HERE, LET’SWATCH DIRTY
HARRY...
I GUESS IRVING IS A BE-ER AND ADO-ER. HIDING AS A WOMAN, HE
COPES WITH A LOT OF SEXISTTREATMENT. BUT HE’S VERY
WILLING TO KICK TERRORIST BUTTWHEN HE HAS TO.
DO-ER.
GREAT! MIX ITUP SO HE’S
UNPREDICTABLE.
BEING BOTH A BE-ER AND A DO-ER ISUNPREDICTABLE BECAUSE IT’S UNREALISTIC.
CHARACTERS MAY HAVE TO USE BOTH APPROACHES INTHEIR STORIES, BUT THEY ALWAYS PREFER ONE
APPROACH IF GIVEN A CHOICE.
IRVING SOUNDS LIKE A DO-ER.HIDING AS A WOMAN IS A HANDS-ONAPPROACH TO TRYING TO SOLVE HIS
PROBLEMS, AS IS TAKING ONTHE TERRORISTS.
YOU’RE RIGHT, HE’S A DO-ER. HESHOULD HATE COPING WITH BEING
TREATED LIKE A LADY.
HOW DOESTHAT FEEL?
LIKE IRVING’SBECOMING A
LOT MORE REAL.
FINE. NOW THE LAST MAINCHARACTER DYNAMIC:
PROBLEM SOLVING STYLE.
HEY LADY! I’M STYLING
HERE...
ONE STYLEIS INTUITIVE...
I WASGONNA
SAY THAT!
THATMAKES SENSE.
LIKE,“HE’S FROM
MARS,SHE’SFROM
VENUS?”
HOWINTUITIVE
OF YOU!LET ME
EXPLAIN!
WHAT’SMY STYLE?
LIKE DO-ER/BE-ER, PROBLEMSOLVING STYLE IS A TENDENCY.
WHAT KIND OFPROBLEM SOLVINGDOES YOUR MAIN
CHARACTER USE: LOGICAL OR
INTUITIVE?
HOW DOES YOUR MAINCHARACTER SEE PROBLEMS?
THERE ARE TWO WAYS:LOGICAL STYLE SEES PROBLEMS
IN TERMS OF CAUSE AND EFFECT,SEEKING LINEAR EXPLANATIONS.
INTUITIVE STYLE SEESPROBLEMS IN TERMS OF THE
RELATIONSHIPS INVOLVED, HOWTHEY BALANCE AS A WHOLE.
FOR EXAMPLE, LET’SLOOK AT YOUR FIRST KISS WITH CINDY - YOU BOTH SAW
THIS DIFFERENTLY.
YOU WERE THERE?
YOU SAW YOUR FLOWERS,THEN THE MONEY YOU SPENT,
THE GOOD FOOD, AND THE TIMETOGETHER ALL ADDING UP TOTHE POINT WHERE YOU FELT
YOU DESERVED A KISS.
FROM HER HOLISTICPOINT OF VIEW, IT WAS THE
COMBINATION OF MUSIC,ATMOSPHERE, YOUR BEHAVIOR,
AND CONVERSATION THATFINALLY SHIFTED INTO
CREATING A GOOD MOMENTFOR A KISS. THAT’S THE
DIFFERENCE BETWEEN SEEINGTHINGS LOGICALLY AND
INTUITIVELY.
NEITHER POINT OF VIEWIS RIGHT OR WRONG, BUT ONE
CARRIES MORE WEIGHT FORYOUR MAIN CHARACTER ANDAFFECTS HOW HE PERCEIVES
OR DECIDES ANYTHING.
IT’S NOT AS FUNAS IT SOUNDS.
THEOTHER ISLOGICAL.
USUALLY,MEN FAVOR
LOGICAL, WOMENINTUITIVE.
WON’T LOGICALSTYLE CHARACTERS
ALL BE MEN ANDINTUITIVE STYLECHARACTERS ALL
BE WOMEN?
NO, IT’SINDEPENDENT
OF GENDER.
FOR EXAMPLE, RIPLEY INTHE MOVIE ALIENALIENALIENALIENALIEN USES A
LOGICAL STYLE. SHETHINKS OF EVERYTHING
LINEARLY.
RIPLEY, OPENTHE HATCH!
I CAN’T DOTHAT. IF WE BREAK
QUARANTINE WECOULD ALL DIE.
OPEN IT,RIPLEY! THAT’S A
DIRECT ORDER!
IF SHE WAS LOOKINGAT THE “BIG PICTURE,”
RIPLEY WOULD PROBABLYHAVE REALIZED SOONERTHAT THE COMPANY WAS
BETRAYING HER.I HAVE TO BRING
THAT ALIEN HOME,RIPLEY, KILLING
YOU IF NECESSARY!
JACK RYAN IN THETHETHETHETHEHUNT FOR RED OCTOBERHUNT FOR RED OCTOBERHUNT FOR RED OCTOBERHUNT FOR RED OCTOBERHUNT FOR RED OCTOBERUSES INTUITION. HIS
HOLISTIC IMPRESSIONS OF THERUSSIAN CAPTAIN ALLOWSHIM TO SEE THAT THE MAN
WANTS TO DEFECT --WHICH NONE OF THE OTHERS
CAN UNDERSTAND.
...THERE ISANOTHER
POSSIBILITY.I THINK HE’S TRYING
TO DEFECT.
THESE ARE WAYS THAT PROBLEMSOLVING DIFFERENCES AFFECT
YOUR MAIN CHARACTER.
I HAVE A SCENEWHERE IRVING CHANGESHIS PROBLEM SOLVING
STYLE.
GOOD! PROBABLYBOTH MEN AND WOMENWILL DIG A CHARACTER
LIKE THAT.
WAVERING ON PROBLEM SOLVINGSTYLE WILL NOT CREATE VARIETY,BUT MUDDINESS. ASK YOURSELF,
DOES IRVING SEE EVERY-THING AS CAUSE AND EFFECT
OR DOES HE PAY MOREATTENTION TO THE SHIFTINGRELATIONSHIPS AROUND HIM?
HE CLEARLY BELIEVESHIS FEMALE PERSONA HAS
CAUSED HIS SUCCESS. HE’SPRETTY OBLIVIOUS TO THE
DOWNSIDE THIS HAS ON HIS RELATIONSHIPS.
SOUNDS LIKE LOGICAL PROBLEMSOLVING, HE THINKS LINEARLY.
THIS WON’T MAKE HIM BLIND TOHOLISTIC THINKING. HE’LL JUST
HAVE A BIAS NOT TO SEE IT.WHEN YOU NEED HIM TO GET THE
BIG PICTURE, HAVE SOMEONEHELP HIM PUT IT TOGETHER.
LIKE HIS WIFE.
THAT’LLWORK.
“THAT COMPLETES THE MAIN CHARACTER DYNAMICS, HOW HE THINKS, ACTS, AND GROWS THROUGH YOUR STORY.LATER, DRAMATICA WILL TELL A LOT MORE ABOUT YOUR MAIN CHARACTER -- BASED ON THE REST OF
THESE QUESTIONS.”...NOW, LET’S SHIFT GEARS: THE NEXT FOUR
QUESTIONS ARE ABOUT PLOT. FOR EXAMPLE --STORY DRIVER ASKS WHAT DRIVES YOUR STORY,
ACTIONS OR DECISIONS?PENN’S STORY’S GOT
ACTIONS AND DECISIONS! THAT’S WHAT MAKES IT SO GOOD.
ALL STORIES HAVEBOTH, BUT ONE ALWAYS
FORCES THE OTHER. STORYDRIVER ASKS WHICH COMES FIRST
IN YOUR STORY.
FOOTBALL GAMESPROVIDE A GOOD EXAMPLEFOR THIS. WHEN YOU’REON OFFENSE, IS FOOTBALLDRIVEN BY ACTIONSACTIONSACTIONSACTIONSACTIONSOR DECISIONSDECISIONSDECISIONSDECISIONSDECISIONS?
NEITHER!FOOTBALL’S DRIVEN
BY SALARIES!
NO, THEOFFENSE MAKES ITS
PLANS IN THEHUDDLE. SO...FOR
THEM IT’S DRIVEN BY DECISIONS!
WHAT ABOUTTHE DEFENSE?
RIGHT!THEIR ACTIONS
ALL FOLLOWCAREFUL
DELIBERATIONS.
THE DEFENSEIS DRIVEN BY
PURE TEST-OSTERONE!
ON DEFENSE, THEPLAYERS FOLLOW THAT
BALL WHERE EVER IT GOES.TO THEM, THE GAME IS
DRIVEN BY ACTIONS.
RIGHT AGAIN. EVERYSTORY IS DRIVEN IN
ONE OF THESE TWOWAYS. CHOOSING
SETS UP THE STORY’SINCITING INCIDENT...
...CONCLUDING INCI-DENT, AND EVERY
ACT BREAK.
Shh.STORY DRIVER ALSO
AFFECTS THE MAIN CHAR-ACTER. HAMLET’S STORYIS DRIVEN BY ACTIONS--
BEGINNING WITH THE APPEARANCE OF A GHOST.
...BUT HAMLET TRIESTO SOLVE THINGS
THROUGH DELIBERATIONS.
THAT’S BECAUSEHE IS ABE-ER!
RIGHT! A MAIN CHARACTER’SAPPROACH MIXES WITH “STORY
DRIVER” AND HE MAY OR MAY NOTFIND THAT MIX COMFORTABLE.
THAT’SWHAT WE WANT,
PENN, PICK “ACTION.”
JOHN MCCLANE INDIE HARDDIE HARDDIE HARDDIE HARDDIE HARD IS A DO-ER,
SUITED TO HIS ACTION DRI-
VEN STORY.
JUST PICKING DOESN’T SAYHOW MUCH ACTION OR DELI-BERATION THERE’LL BE, JUSTWHICH FORCES THE OTHER.
THE FUGITIVETHE FUGITIVETHE FUGITIVETHE FUGITIVETHE FUGITIVEHAS LOTS OF
ACTION,BUT IT’S ADECISIONDRIVENSTORY...
“WHILE BEING THEREBEING THEREBEING THEREBEING THEREBEING THEREIS QUITE SUBDUED,YET IT IS A STORY
DRIVEN BY ACTIONS.”
PUT SOME UNFORCEDDECISIONS IN THERE
TOO. TWICE THEOBSTACLES MAKES
TWICE THESUSPENSE
I THINK MY STORY’SDRIVEN BY ACTIONS TOO--
THE JOB ON THE CRUISE ANDTHE TERRORIST ATTACKCOME OUT OF NOWHERE
TO PUSH THE STORYALONG.
IF IT ONLY WORKED THAT WAY.USING UNFORCED DECISIONS AND
UNPLANNED ACTIONS MAKESA STORY FEEL OUT OF
CONTROL. TROUBLES IN ASTORY SHOULD COME FROMONE SOURCE. PENN MADE A
GOOD ARGUMENT FOR ACTIONS.JUST FOLLOW IT THROUGH SO THATACTIONS DRIVE AND END THE STORY.
THAT’S WHY IRVING’S COMFORTABLESOLVING THE TERRORIST PROBLEM --HE’S A DO-ER IN AN ACTION STORY.
WHAT ABOUT CREATINGMORE CONFLICT? THAT’S
ALL DRAMA IS, YOU KNOW,CONFLICT.
A STORY IS MORE THANJUST DRAMA, THOUGH.
STILL, WHAT ELSECAN YOU SHOW MEABOUT CONFLICT?
MUCH MORE. FOREXAMPLE, STORY LIMITHAS A STRONG IMPACT ONTHE CONFLICT IN YOUR STORY.
WHAT WILL RAISE TENSIONAND BRING YOUR STORY TO
AN END?
...RUNNING OUR OFTIME, LIKE HIGH NOONHIGH NOONHIGH NOONHIGH NOONHIGH NOON?
...OR RUNNING OUTOF OPTIONS LIKE INA “WHO-DONE-IT?”
THE KILLER ISSOMEONE IN THISTHISTHISTHISTHIS
ROOMROOMROOMROOMROOM!
FOR EXAMPLE, IMAGINEYOU HAVE TO SEARCH A MANSIONFOR CLUES TO A MYSTERY.A TIMELOCK TIMELOCK TIMELOCK TIMELOCK TIMELOCK WOULD BEIF YOU ONLY GET FIVE MIN-UTES TO SEARCH ASMANY ROOMS AS YOU LIKE.
AN OPTIONLOCKOPTIONLOCKOPTIONLOCKOPTIONLOCKOPTIONLOCKWOULD BE IF YOU ARE
ONLY ALLOWED TOCHOOSE FIVE ROOMS
TO LOOK IN. CONFLICTRISES AS YOUR STORY
EITHER RUNS OUT OF TIME,LIKE EDDIE MURPHY’S 48 HRS.48 HRS.48 HRS.48 HRS.48 HRS.,
OR OUT OF OPTIONS LIKEALADDIN AND HIS THREE
WISHES.
I HADN’T CONSIDERED IT.I GUESS THE HOSTAGE
SITUATION COULD GO ONFOREVER.
TheButler!I knew
it!
I BET YOU DON’T WANTYOUR AUDIENCE TO FEEL
LIKE THEY COULD BEWATCHING YOUR STORY
FOREVER.
THEY WILLFEEL TENSION RISE
IF THE END IS LIMITEDBY A TIMELOCK
OR AN OPTIONLOCK.
I COULD HAVE THE TERRORISTSDEMAND SAFE PASSAGE WITHIN
TWENTY-FOUR HOURS, ORELSE THEY’LL BLOW UP
THE SHIP.
THAT’S A TIME-LOCK. SET UP THEAMOUNT OF TIMEYOUR CHARACTERS
HAVE RIGHT UPFRONT...
...THEN CHECK THE CLOCKAT LEAST THREE MORETIMES AS THE STORYHEADS TOWARD ITS
CLIMAX.
HEY, THATDOES TIGHTEN
THINGS UP.
WE’LL FIND THE FINALTWO DYNAMICS AT THE
STORY’S END.
FIRST OFF, STORY OUTCOME ASKSSIMPLY, “DO THE CHARACTERS ACHIEVE THE COMMON GOAL THEY SET OUT FOR, OR NOT?
IF THE GOAL IS ACHIEVED, IT’S“SUCCESSSUCCESSSUCCESSSUCCESSSUCCESS.” IF IT ISN’T (EVEN IFIT’S CLOSE) THEN IT’S “FAILUREFAILUREFAILUREFAILUREFAILURE.”THE OUTCOME WILL BE ONE WAY
OR THE OTHER.
THIS DOES NOT, HOWEVER,SAY HOW MUCH OF A SUCCESS
OR FAILURE YOUR CHARACTERSWILL EXPERIENCE. IT DOESN’T
HAVE TO BE GREAT TO SUCCEED OR BE THE WORST
THING IN THE WORLD TOFAIL.
I THINK HE’SA DO-ERDO-ERDO-ERDO-ERDO-ER!
THE AUDIENCEJUST HAS TOKNOW IF THE
ORIGINAL GOALWAS REACHED OR
NOT.
MAN!WHAT A SORE LOSER.
OUTCOMEIS A COLD LOOK AT
THE STORY GOAL. THE NEXTQUESTION, STORY JUDG-
MENT, IS MUCH MOREEMOTIONAL.
EXCUSE ME.PARDON ME.
STORY JUDGMENT ASKS,“DOES YOUR MAIN CHARACTER
RESOLVE HIS PERSONAL PROBLEMSOR NOT?”
IF HE’S FREE OFHIS EMOTIONAL ANGST INTHE END, THE JUDGMENT
IS “GOODGOODGOODGOODGOOD.”
...IF HE’S STILL PLAGUEDBY IT IN THE END,
THE JUDGMENTIS “BADBADBADBADBAD.”
OUTCOME AND JUDGMENT COMBINE
TO CREATE FOURKINDS OF ENDINGS.
TRAGEDIES, WHICHEND IN FAILURE/BAD
LIKE HAMLETHAMLETHAMLETHAMLETHAMLET.
...PERSONAL TRAGEDIES,ENDING IN SUCCESS/BAD
WHERE THE MAIN CHARACTERREMAINSTROUBLED
IN SPITE OFSUCCESS--
LIKESILENCE OFSILENCE OFSILENCE OFSILENCE OFSILENCE OFTHE LAMBSTHE LAMBSTHE LAMBSTHE LAMBSTHE LAMBS.
...PERSONAL TRIUMPHSWHICH HAVE FAILURE/GOOD,
LIKE RAIN MANRAIN MANRAIN MANRAIN MANRAIN MAN, WHERECHARLIE BABBITT GIVES UP
HIS GOAL IN ORDER TOBECOME A HAPPIER
PERSON.
...AND FINALLY THEREARE TRIUMPHS--SUCCESS
AND GOOD ENDINGS--LIKE CASABLANCACASABLANCACASABLANCACASABLANCACASABLANCA.
MY STORY’S A FULL BLOWNTRIUMPH TOO! IRVING SUCCEEDSIN CAPTURING THE TERRORISTS
AND HE EVENTUALLY FEELS GREATABOUT MAKING HIS PEN-NAME
A PART OF HIMSELF.
GREAT!HAPPY ENDINGS
SELL!
THIS COULD BETHE BEGINNING OF
A BEAUTIFULRELATIONSHIP!
I LIKE THESE QUESTIONS. MY CHARACTERS AND PLOT ARE STRONGER, BUT MY ANSWERS HAVEN’T REALLY STRUCTURED MY STORY. I NEED AN EMOTIONAL POWERHOUSE TO GET CINDY
BACK.YEAH. I CAN ASKPENN A BUNCH OFQUESTIONS TOO--
WITHOUT DRAMATICA!
WELL, DARLING. MORE ISHAPPENING THAN JUST YOU
ANSWERING QUESTIONS.DRAMATICA’S USING YOURANSWERS TO CREATE THE
STORYFORMFOR YOUR STORY.
A STORYFORM LISTS ALLTHE DYNAMIC AND STRUCTURAL
PARTS OF YOUR STORY: THEINTRICACIES OF ITS ARGUMENT.
IT WON’T SAY HOW HOW HOW HOW HOW TOWRITE IT--JUST WHAT WHAT WHAT WHAT WHAT YOU’LL
HAVE TO COVER TO MAKETHE STORY COMPLETE.
THE STORYFORM INROMEO AND JULIETROMEO AND JULIETROMEO AND JULIETROMEO AND JULIETROMEO AND JULIET FOR
EXAMPLE, COULD BE SET ASSHAKESPEARE DID IT--IN
OLD ITALY......OR THE SAMESTORYFORM COULDBE SET IN NEWYORK CITY.THE STORY-TELLING WOULDCHANGE,BUT ALL THECONCEPTS OFPREJUDICE ANDLOVE WOULD STILLBE THERE.
THAT’S HOWWEST SIDE STORYWEST SIDE STORYWEST SIDE STORYWEST SIDE STORYWEST SIDE STORY
WAS WRITTEN:SAME STORYFORM--
DIFFERENT SYMBOLS OR ILLUSTRATING.
YOUR STORYHAS A STORYFORM AND
DESIGNING ITUP FRONT WILL
HELP GUIDE YOU THROUGH
YOUR STORY’SDEVELOPMENT.
THEN YOU’LL COMETO ILLUSTRATING--
SYMBOLIZING YOUR STORY-FORM. ILLUSTRATING
GETS YOU TO VISUALIZETHE DETAILS OF
YOUR STORY.
AFTER THAT COMES STORY-WEAVING: DECIDING HOW TOPRESENT THOSE DETAILS TOAN AUDIENCE. LIKE, WHAT
WILL BE ON PAGE 1? DO YOUSTART NEAR THE END ANDFLASHBACK THROUGH THE
STORY, AS IN REMAINSREMAINSREMAINSREMAINSREMAINSOF THE DAYOF THE DAYOF THE DAYOF THE DAYOF THE DAY?
...OR AT THE BEGINNING OF THE IMPACT CHARACTER THROUGHLINE? WHAT DO YOU EMPHASIZE MOST, THE MAIN CHARACTER? THE OVERALL STORY? OR
SOME OTHER THROUGHLINE? ANYTHING’SPOSSIBLE. THAT’S THE WORK OF STORYWEAVINGWHICH COMES AS YOU WRITE DRAFTS OF THE STORY.
THE EIGHT QUESTIONS WE’VEANSWERED SET UP YOUR STORY’SDYNAMICS. NEXT WE’LL SET UPITS STRUCTURE. THEN, ONCEYOU’VE ARRIVED AT A SINGLESTORYFORM, WE’LL MOVE ON
TO ILLUSTRATING ANDSTORYWEAVING.
THIS IS WILD!THESE STAGES ARETAKING ME DEEPER
INTO MY STORYTHAN I’VE EVERBEEN BEFORE.
THEN LET’S KEEPGOING, GET OUTOF THIS LIBRARY
AND LOOK ATSTRUCTURE!
THERE’S A PROBLEM AT THEHEART OF YOUR STORY. THAT’S
WHERE STRUCTURE COMES FROM.UNTIL YOU SEE IT CLEARLY AS THE
AUTHOR, YOUR STORY WILL REMAINA SNARLED JUNGLE OF IDEAS.
STRUCTURE DEALS WITH OUR THROUGHLINES, RIGHT?
THE OVERALL STORY, THE MAINCHARACTER, THE IMPACT
CHARACTER, AND THEMAIN VS. IMPACT STORY?
RIGHT. THOSE FOUR PERSPECTIVES ARETHE WAYS TO SEE INTO YOUR STORY.YOUR STORY IDEA GIVES THEMSOMETHING TO LOOK AT.AT.AT.AT.AT.
THE AUDIENCEFOLLOWS THE FOURTHROUGHLINES WHICHEXPLORE THE PROBLEMAT THE HEART OF YOURSTORY. TO GET MEANINGOUT OF THEM, THE THROUGHLINESNEED SOMETHING SPECIFIC TOEXPLORE.
STORIES MATCH THEIR FOURPERSPECTIVES WITH THESE FOUR
BROAD CLASSES OF STORY PROBLEMS:FIXED ATTITUDES, MANIPULATION,FIXED ATTITUDES, MANIPULATION,FIXED ATTITUDES, MANIPULATION,FIXED ATTITUDES, MANIPULATION,FIXED ATTITUDES, MANIPULATION, SITUATIONS, AND ACTIVITIES. SITUATIONS, AND ACTIVITIES. SITUATIONS, AND ACTIVITIES. SITUATIONS, AND ACTIVITIES. SITUATIONS, AND ACTIVITIES.
WHAT IS THIS,A VULCAN CROSS-
WORD PUZZLE?
THIS IS OUR MAP THROUGH THISJUNGLE—THE DRAMATICA STRUCTURALCHART. MARKING ONE OF YOUR STORY’S
THROUGHLINES HERE, USINGDRAMATICA, WILL MAP OUT THEOTHER THREE THROUGHLINES
AS WELL.
THE SITUATION CLASSDESCRIBES A
STATIC EXTERNALSTATIC EXTERNALSTATIC EXTERNALSTATIC EXTERNALSTATIC EXTERNALPROBLEM
THE MANIPULATION CLASSDESCRIBES A
CHANGING INTERNALCHANGING INTERNALCHANGING INTERNALCHANGING INTERNALCHANGING INTERNALPROBLEM
THE ACTIVITY CLASSDESCRIBES A
CHANGING EXTERNAL CHANGING EXTERNAL CHANGING EXTERNAL CHANGING EXTERNAL CHANGING EXTERNALPROBLEM
THE FIXED ATTITUDE CLASSDESCRIBES A
STATIC INTERNALSTATIC INTERNALSTATIC INTERNALSTATIC INTERNALSTATIC INTERNALPROBLEM
FIXEDFIXEDFIXEDFIXEDFIXED
ATTITUDESATTITUDESATTITUDESATTITUDESATTITUDES
ACTIVITIESACTIVITIESACTIVITIESACTIVITIESACTIVITIES
SITUATIONSITUATIONSITUATIONSITUATIONSITUATION
MANIPULATIONMANIPULATIONMANIPULATIONMANIPULATIONMANIPULATION
FIXEDFIXEDFIXEDFIXEDFIXED
ATTITUDESATTITUDESATTITUDESATTITUDESATTITUDES
MANIPULATIONMANIPULATIONMANIPULATIONMANIPULATIONMANIPULATION
ACTIVITIESACTIVITIESACTIVITIESACTIVITIESACTIVITIES
SITUATIONSITUATIONSITUATIONSITUATIONSITUATION
AUDIENCE!
THEY ARE MATCHED TOTHE FOUR THROUGHLINESIN THE MOST IMPORTANT
STRUCTURAL CHOICEAUTHORS FACE IN
DRAMATICA.
BUT PENN’S STORY DEALS WITH ALLFOUR KINDS OF PROBLEMS.
SURE, TAKE CASABLANCACASABLANCACASABLANCACASABLANCACASABLANCA. ITS OVERALL STORYTHROUGHLINE IS AN “ACTIVITY”“ACTIVITY”“ACTIVITY”“ACTIVITY”“ACTIVITY”—WHERE
EVERYONE’S TRYING TO OBTAINTRYING TO OBTAINTRYING TO OBTAINTRYING TO OBTAINTRYING TO OBTAIN “EXIT VISAS” TOESCAPE GROWING NAZI CONTROL.THESE FOUR
CLASSES AREIN EVERYSTORY.
THE PROBLEM AT THE HEART OF YOUR STORY IS SOMEWHERE OUT THERE. BY ANSWERING
QUESTIONS ABOUT IT, DRAMATICA WILL LEADUS TO SEE EXACTLY WHAT IT IS.
YOUR CHOICE WILL FLAVOR THE STORY YOUTELL. YOUR OVERALL STORY MAY FALL INTOANY ONE OF THESE CLASSES. LET’S LOOK AT
SOME “WAR” STORIES TO SEE THEDIFFERENCE BETWEEN THEM.
THE FIRST STRUCTURALQUESTION ASKS YOU TOCHOOSE YOUR OVERALLSTORY THROUGHLINE.
AN ACTIVITY ACTIVITY ACTIVITY ACTIVITY ACTIVITY OVERALL STORYWOULD EMPHASIZE THE ACTIVITIES OFWAR, LIKE THE GUNS OF NAVARONETHE GUNS OF NAVARONETHE GUNS OF NAVARONETHE GUNS OF NAVARONETHE GUNS OF NAVARONE. WHATBRINGS EVERYONE TOGETHER HERE IS A SCHEME(ACTIVITY) TO BLOW UP A CERTAIN TARGET.
CAN I HAVE ANEXAMPLE?
“RICK IS A MAIN CHARACTER WHOSE“FIXED ATTITUDE”“FIXED ATTITUDE”“FIXED ATTITUDE”“FIXED ATTITUDE”“FIXED ATTITUDE” IS THAT...”
“...HE STICKS HISNECK OUT FOR
NOBODY.”
“BUT HE’S FORCED TO RECONSIDERHIS WAYS BY HIS IMPACT
CHARACTER, ILSA, WHOSE IS STUCKIN A “SITUATION”“SITUATION”“SITUATION”“SITUATION”“SITUATION”. SHE IS CAUGHTIN CASABLANCA AND MARRIED TO
A FREEDOMFIGHTER.
THE MAIN VS. IMPACT STORY EXPLORESTHE “MANIPULATIONS” “MANIPULATIONS” “MANIPULATIONS” “MANIPULATIONS” “MANIPULATIONS” BETWEEN RICK AND ILSAAS THEY MANIPULATE EACH OTHER OVER THEIR
LOVES AND LOYALTIES.
SITUATION
MANIPULATION
ACTIVITY
FIXEDATTITUDE
A SITUATIONSITUATIONSITUATIONSITUATIONSITUATION OVERALL STORY WOULDDEAL WITH A FIXED STATE OF WAR,SUCH AS THE GREAT ESCAPETHE GREAT ESCAPETHE GREAT ESCAPETHE GREAT ESCAPETHE GREAT ESCAPE.THESE CHARACTERS ARE IN APRISON CAMP...
...DEALING WITH THE SAMESITUATION FROM
BEGINNING TO END.
AN OVERALL STORY CENTERED ONFIXED ATTITUDESFIXED ATTITUDESFIXED ATTITUDESFIXED ATTITUDESFIXED ATTITUDES IS LIKEPATTONPATTONPATTONPATTONPATTON. WHERE EVERYONE’SINFLEXIBLE AGENDAS CREATE MORE TROUBLE THANTHE ENEMY.
AN OVERALL STORY CENTERED ONMANIPULATIONSMANIPULATIONSMANIPULATIONSMANIPULATIONSMANIPULATIONS IS LIKE PATHSPATHSPATHSPATHSPATHSOF GLORYOF GLORYOF GLORYOF GLORYOF GLORY. WHERE THEOFFICERS MANIPULATIVE“TRIAL” LEADS TO INJUSTICEIN THE NAME OF JUSTICE.
WHICH KINDOF PROBLEM BRINGS
YOUR OVERALL CHARACTERSTOGETHER?
I DON’TKNOW, I SEE
THEM ALL.
SITUATIONSITUATIONSITUATIONSITUATIONSITUATION ACTIVITYACTIVITYACTIVITYACTIVITYACTIVITY M
ANIPU
LATIO
NM
ANIPU
LATIO
NM
ANIPU
LATIO
NM
ANIPU
LATIO
NM
ANIPU
LATIO
N
FIXEDFIXEDFIXEDFIXEDFIXEDATTITUDEATTITUDEATTITUDEATTITUDEATTITUDE
FIRST, IRVING’S RUNNINGAROUND ACTING LIKE A
WOMAN,...THE CRUISE IS STUCK
IN A HOSTAGESITUATION,...
...THERE’S CONFLICTING ATTITUDESOVER IRVING’S PEN-NAME, AND THERE’S
THE MANIPULATIONS IRVING’SWIFE PUTS HIM
THROUGH.
ALL FOUR,THAT’S WHAT
I SAID.
THAT WASGREAT, PENN.
YOU’VE ACTUALLY JUSTDESCRIBED ALL FOURTHROUGHLINES IN
YOUR STORY.
“THE OVERALL STORY HASEVERYONE DEALING WITHTHE SITUATION OFBEING HELD HOSTAGE ON A BOAT.”
A SITUATIONA SITUATIONA SITUATIONA SITUATIONA SITUATION
MANIPULATIONMANIPULATIONMANIPULATIONMANIPULATIONMANIPULATION FIXED ATTITUDEFIXED ATTITUDEFIXED ATTITUDEFIXED ATTITUDEFIXED ATTITUDE
ACTIVITYACTIVITYACTIVITYACTIVITYACTIVITY
“THE MAIN CHARACTER IS A NAVYSEAL TRYING TO WRITE—A PERSONDEFINED BY HIS ENDEAVOR TOBECOME A WRITER.”
“IRVING’S WIFE, THE IMPACT CHARACTERIMPACTS IRVING THROUGH HERMANIPULATIONS...”
...AND THE MAIN VS. IMPACT STORYEXPLORES THE FIXED ATTITUDES INTHEIR RELATIONSHIP—ESPECIALLYREGARDING WHAT ITMEANS TO“BE A MAN.”
I SEE. EACH PERSPECTIVE (E.G. OVERALL STORY) GETS MATCHED
WITH THE TYPE OF STORY (E.G.SITUATION) THAT IT EXPLORES.
WHAT’S THE OVERALLSTORY THROUGHLINE
OF DIE HARDDIE HARDDIE HARDDIE HARDDIE HARD?
WAIT!
DIE HARDDIE HARDDIE HARDDIE HARDDIE HARD IS AN OVERALLSTORY OF A “SITUATION”
WHERE ALL THE CHARACTERSDEAL WITH BEING CAUGHT
IN A SKYSCRAPER.
WHEWWHEWWHEWWHEWWHEW!
I LIKE IT.
THEN LET’S STEERYOUR OVERALL STORY
INTO A“SITUATION”
SITU
ATIO
N
SITU
ATIO
N
SITU
ATIO
N
SITU
ATIO
N
SITU
ATIO
N
HOW THINGSHOW THINGSHOW THINGSHOW THINGSHOW THINGSARE CHANGINGARE CHANGINGARE CHANGINGARE CHANGINGARE CHANGING
OVERALL STORY CONCERNOVERALL STORY CONCERNOVERALL STORY CONCERNOVERALL STORY CONCERNOVERALL STORY CONCERN
PASTPASTPASTPASTPAST PRESENTPRESENTPRESENTPRESENTPRESENT FUTUREFUTUREFUTUREFUTUREFUTURE
THE NEXT QUESTION ABOUT STRUCTUREASKS: WHAT’S YOUR OVERALL STORY CONCERN?
WHAT’S MOST IMPORTANT TO THE CHARACTERS IN YOUR STORY?YOUR OVERALL CHARACTERS MAY HAVE DIFFERENT CONCERNS,
BUT THEY WILLALL SHARETHE SAMENATURE.
THAT MAY WORK IN SIMPLE STORIES, BUTWHAT ABOUT A REAL STORYLIKE THE VERDICTTHE VERDICTTHE VERDICTTHE VERDICTTHE VERDICT?
THE VERDICTTHE VERDICTTHE VERDICTTHE VERDICTTHE VERDICT HAS AN OVERALL STORY CONCERNAS WELL, THE VERDICTTHE VERDICTTHE VERDICTTHE VERDICTTHE VERDICT’S CONCERN IS
“THE FUTURE”—
...THE LAWYER FIGHTS FOR THEFUTURE OF HIS CAREER.
...HIS CLIENTS WORRY ABOUTTHEIR SISTER’S FUTURE ANDWHETHER THEY WILL BE ABLE
TO SUPPORT HER.
...THE CHURCH IS WORRIED ABOUT ITSFUTURE REPUTATION ONCE IT’S SUED.
...AND THE TREACHEROUS ASSISTANT ISTRYING TO SECURE HER FUTURE IN THE
LEGAL WORLD.
...ALL THESE DIFFERENT CHARACTERSSHARE THE COMMON THEMATIC CONCERN.
PLOT IS STRONGEST IN THIS PART OF DRAMATICA STRUCTURE.THE STORY GOAL IS DESCRIBED BY THE OVERALL STORY CONCERN. THEGOAL CAN BE AN OBJECT, A STATE OF MIND, DEGREE OF KNOWLEDGE,
OR A CERTAIN FEELING—ANYTHING SO LONG AS IT’S UNDERSTOOD TOBE THE GOAL. DEFINING THE GOAL CAN HELP YOU PICK THE CONCERN.
IN FACT, YOU MIGHT CATEGORIZESTORIES QUITE MEANINGFULLY
BY THEIR OVERALL STORYCONCERN. KIND OF LIKE HOW
THEY CATEGORIZE VIDEOS IN AVIDEO STORE.
BECAUSE YOUR OVERALL STORYTHROUGHLINE IS A “SITUATION,”YOUR CONCERN WILL BE ONE OF
THE FOUR TERMS ON THOSE PEAKSIN THE DISTANCE.
WHAT’S MY OVERALLSTORY CONCERN?
PASTPASTPASTPASTPAST PRESENTPRESENTPRESENTPRESENTPRESENT FUTUREFUTUREFUTUREFUTUREFUTURE HOW THINGSHOW THINGSHOW THINGSHOW THINGSHOW THINGS ARE CHANGING ARE CHANGING ARE CHANGING ARE CHANGING ARE CHANGINGOBTAINING CHANGING ONE’S NATURE
DOING
FUTURE
UNDERSTANDING
GATHERING INFORMATION
INNERMOST DESIRES
MEMORIES
WELL NONE OF THESE WORDS CAMETO ME WHEN I MADE UP THE STORY.THE CHARACTERS ARE STUCK ON THE
BOAT. THE PRESENT’S A MESS,THEIR FUTURE’S IN JEOPARDY...
HOW DO I PICK?
MAYBE IT WILL HELP IF IEXPLAIN TWO THINGS
ABOUT DRAMATICAVOCABULARY...
FIRST, ANY TERM CANBE SEEN IN THE
POSITIVE ORNEGATIVE SENSE.FOR EXAMPLE, A
CONCERN OF“OBTAINING” DEALS
WITH GETTINGSTUFF...
SECONDLY, VOCABULARY INDRAMATICA HAS VERY PRECISE
DEFINITIONS. FOR AUTHORS TOBE ABLE TO NAME THE THEMATIC
PIECES OF THEIR STORIES, NO TWOTERMS CAN MEAN THE
SAME THING.
THAT’S MORE GROUND THANTHE ENGLISH LANGUAGE
USUALLY HAS TO COVER, SODRAMATICA COMES WITH ITS
OWN DICTIONARY.
OF MOST CONCERN TO THESE PEOPLESTUCK ON THE BOAT IS WHAT’S GOINGTO HAPPEN. THE CRUISE GUESTS, THEAUTHORITIES, AND EVEN THE TERROR-
ISTS ARE ALL FIGHTING FOR THEIRFUTURE. THAT’S MY OVERALL
STORY CONCERN.
BUT IRVING IS ALSOWORRIED ABOUT LOSING HISMANLINESS. IS THAT MORE
LIKE A “MAIN CHARACTERCONCERN?”
YES, ACTUALLY.THE MAIN CHARACTER
THROUGHLINE HAS A CONCERNALSO. EVERY THROUGHLINE HAS ACONCERN. FOR EVERY QUESTION
IN THE OVERALL STORY, THESAME QUESTION EXISTS IN THE
OTHER THROUGHLINES. DRAMATICA WILL PROVIDE THE ANSWERS BASED
ON HOW YOU ANSWER THE 12ESSENTIAL QUESTIONS.
ALL FOUR CHOICES WILLBE IN YOUR OVERALL STORY.BUT WHICH CONTAINS THE
ISSUES THEY’RE ALLCONCERNED WITH?
...AND LOSINGSTUFF.
NOW LET’SSTART HIKING.
AW, MAN!.
WE’RE MUCH CLOSER TO THE PROBLEM NOW.NEXT WE FACE THE CHOICE OF OVERALL
STORY ISSUE. YOUR PREVIOUS CHOICES HAVELED US TO THESE FOUR OPTIONS
INSIDETHE PEAKMARKED“FUTURE...”
WHAT THE HECK IS AN “ISSUE?”“ISSUE?”“ISSUE?”“ISSUE?”“ISSUE?”
OVERALL STORY ISSUEOVERALL STORY ISSUEOVERALL STORY ISSUEOVERALL STORY ISSUEOVERALL STORY ISSUE
ISSUE IS THAT ARGUMENT’S TOPIC. EVERY THROUGHLINEHAS ITS OWN ISSUE OR THEME. EXPLORE THE ISSUE
EACHTHROUGHLINE HAS ATHEMATIC ARGUMENT. THE
THE OVERALLSTORY’S ISSUE
WILL INVOLVE EVERYONEIN THE STORY...
“THE FUGITIVETHE FUGITIVETHE FUGITIVETHE FUGITIVETHE FUGITIVE HAS AN OVERALL STORY ISSUE OF“PRECONCEPTION.” EVERYONE’S PROBLEMS ARE DEEPENEDBY PRECONCEPTIONSREGARDING DR. KIMBLE’S GUILT OR INNOCENCE.”
“FOUR WEDDINGS AND A FUNERALFOUR WEDDINGS AND A FUNERALFOUR WEDDINGS AND A FUNERALFOUR WEDDINGS AND A FUNERALFOUR WEDDINGS AND A FUNERAL HAS AN OVERALLSTORY ISSUE OF “COMMITMENT,” EXPLORING THISTHROUGH THE RELATIONSHIPS OFALL THE CHARACTERS.”
“ISSUES FROM ALL FOUR THROUGHLINESCREATE A TAPESTRY OF THEMES, ALL TIED TOTHE STRUCTURAL MEANING OF YOUR STORY.”
ALL FOUR OF THESE ARE IN MY STORY:THE TERRORISTS PRECONCEPTIONS
ABOUT WOMEN HELP THE WRITER SAVETHE DAY; OPENNESS TO RESISTANCE
HELPS THE WOMEN JOIN THE WRITER;BAD CHOICES BY THE CRUISE LINE AND
THE TERRORISTS LEAD TO BOTH OFTHEIR UNDOING; DELAYS IN THE
RESCUE PLANS GIVE THE WRITER ANDTHE WOMEN TIME TO FREE
THEMSELVES.
WHICH IS YOUR CENTRAL TOPIC?WHAT HAVE YOU GOT THE MOST TO SAY
ABOUT? THEMES AREN’T JUST RECURRINGIDEAS, BUT PERSPECTIVES. WHAT IS YOUR
STORY TRYING TO SAY?WELL, THE IDEA WAS TO
MAKE AN “ACTION MOVIE”ABOUT BEING A WOMAN.
I WAS GETTING AT “PREJUDICE.”
RIGHT, O.K.,PRECONCEPTION ISMY OVERALL STORY
ISSUE.
THAT CHOICETAKES US TO THELAST OF THE 12
ESSENTIALQUESTIONS...
THAT’S “PRECONCEPTION”
ON THECHART.
THROUGH DIALOGUE, IMAGES, AND OTHER THEMATICMATERIAL. THE ISSUES OF THE FOUR THROUGHLINES KEEPYOUR THEMES TIED TO YOUR STORY’S MEANING.
OVERALL STORY PROBLEMOVERALL STORY PROBLEMOVERALL STORY PROBLEMOVERALL STORY PROBLEMOVERALL STORY PROBLEM
THESE ELEMENTS ARE THE STRUCTURALHEART OF YOUR OVERALL STORY. ONE
OF THEM IS THE “PROBLEM,” THESOURCE OF ALL THE INEQUITIESTROUBLING YOUR CHARACTERS.
ITS OPPOSITE IS THE “SOLUTION.”
THERE’S ALSO THEOVERALL STORY SYMPTOM AND
OVERALL STORY RESPONSE.THE PROBLEM IS LIKE A DISEASE
IN THE STORY. IF EVERYONECOULD SEE THE PROBLEM
CLEARLY, THEY’D SOLVE IT. BUTTHEY
DON’TBECAUSE
THEY’RE BUSYWITH THE
SYMPTOMS OFTHE PROBLEM—
THAT’S THE OVER-ALL STORY SYMPTOM.
THEY TRY TO TREAT THESESYMPTOMS WITH THE OVERALL
STORY RESPONSE.
ONLY THE OVERALL STORYSOLUTION CAN DO THAT.
THESE FOUR ELEMENTS ARECONSTANTLY AT WORK IN YOURSTORY. THEY BRING SPECIFIC
SHADING TO THE MOST MINUTEDIFFICULTIES YOURCHARACTERS FACE.
BUT THISTREATMENT
WON’TCURE
THE PROBLEM...
THE PROBLEM IS FINALLYRECOGNIZED SOME TIME NEAR
THE CLIMAX.“SUCCESS” REPLACES THE
PROBLEM WITH THE SOLUTION.
“FAILURE” DOESN’T.
YOU MEAN THOSEBORING TERMS ARE THE
“HEART” OF PENN’S STORY?
DRAMATICA DOESN’T SAY HOWTO FEEL ABOUT THE PROBLEM,
JUST WHAT IT IS.
TAKE “TEMPTATION” FOR EX-AMPLE. THINK HOW MANY WAYSTHIS “BORING” TERM MIGHT BE
PROBLEMATIC IN A STORY...
...A SINGLE KIND OF PROBLEM FEELS CONSISTENT.AS MANY WILD THINGS HAPPEN, THEY’LL ALL BE
THEMATICALLY LINKED BY THE PROBLEM.
I’VE GOT ABOUT 500DIFFERENT PROBLEMS MY
CHARACTERS DEALWITH.
DOTHEY SHARE
ANY COMMONTHEME?
WELL, YEAH. YOU COULD SAYMY STORY’S PROBLEM IS
“CONTROL,” WHICH IS MOSTOBVIOUS WHEN THE TERROR-
ISTS REVEAL THEY’VE HADCONTROL OF THE CRUISE
SINCE IT LEFT PORT.I COULD TAKE THIS FARTHER--
SYSTEMS DESIGNED TO CONTROLSHIPPING TRAFFIC MIGHT MAKE IT
IMPOSSIBLE TO SAFELY RESCUETHE HOSTAGES...
AND THE WAY THEHOSTAGES APPEAR TO BE
EASILY CONTROLLED KEEPSEVERYONE UNDER WRAPSUNTIL EVENTUALLY THESOLUTION OF BEHAVING
UNCONTROLLED ALLOWS THE WOMENTO OVERTAKE THE TERRORISTS.
SOUNDS GOOD!CONGRATULATIONS...
...YOU’VE GOT A SINGLE STORYFORM.NOW THIS GETS FUN.
THAT ANSWER TOOK DRAMATICATO A SINGLE STORYFORM, DETAILINGALL FOUR OF YOUR STORY’S THROUGH-
LINES IN GREAT DEPTH.
NOW WE’LL SEEHOW TO STRUCTURE THE LOGICAL
AND EMOTIONAL PARTSOF YOUR STORY
WE’LL FIND A PLOTOUTLINE IN HERE TOO,
OF HOW EACH THROUGH-LINE WILL PROCEED
ACT BY ACT
THERE ARE A NUMBEROF WAYS TO DEAL WITH THIS
INFORMATION IN THE SOFTWARE. ONEWAY IS THROUGH THE REPORTS
ABOUT YOUR STORY THAT DRAMATICAIMMEDIATELY COMPOSES WHEN YOU
FINISH STORYFORMING.
“THESTORY ENGINE
SETTINGSREPORT?”
THAT REPORT LISTSEVERY SINGLE STORY
POINT IN YOURSTORYFORM
IT IS THESKELETON OF YOUR
STORY. EACH THROUGHLINEHAS A CONCERN, ISSUE, PROBLEM,
SOLUTION, SYMPTOM, AND RE-SPONSE. -- NOW DRAMATICA SHOWS
YOU WHAT THOSE ARE.
...THE MAIN VS. IMPACT THROUGHLINE IS ACLASH OF FIXED ATTITUDES OVER WHETHERIT’S O.K. TO BE LIKE A WOMAN, HUH? THAT FITS. AND THE CONCERN IN IRVING’S
RELATIONSHIP WITH HISWIFE/IMPACT CHARACTER...
...IS THEIR “INNERMOST DESIRES”-- WHICH IRVING’S FAME AS A
WRITER CAN EITHERMAKE REAL OR POSTPONE
FOREVER DEPENDING ON HOWIRVING LOOKS AT IT.
WRITE THOSEDESCRIPTIONS INTOTHE “STORY POINTS”WINDOW. HERE, YOU
WRITE SPECIFICEXAMPLES OF HOW
THESE POINTS WILLAPPEAR IN YOUR
STORY.IT SAYS MY
IMPACT CHARACTERISSUE IS “COMMITMENT.”
THAT DESCRIBES THE THEMATICIMPACT OF IRVING’S WIFE THATWILL HELP CONVINCE IRVING TO
CHANGE, RIGHT?
SO IRVING’S WIFESHOULD SEE HER COMMITMENTTO IRVING AND HIS COMMIT-MENT TO WRITING AS THEREASONS WHY THEY HAVETO GO ON THE CRUISE. IN HEROPINION, IRVING SHOULD GETINTO THE EXPERIENCE OF BEINGSEEN AS A WOMAN, SO HE CANFULFILL HIS COMMITMENTS TO HISREADERS AS THE AUTHOR OF THEIR “LOVE COLUMN.”
THAT WILLWORK, FOR A
START.
I SEE WHAT WASMISSING IN MY STORY,NOW THAT I’M PUTTING
THIS IN HERE. WITHOUT ADEVELOPED IMPACT CHARACTER,
IRVING WOULD HAVE NOREASON TO CHANGE.
THIS IS THE SIDE OFTHE STORY I WASN’T LOOKING
AT BEFORE.
GREAT,NOW ALL WE NEED IS
SOME QUIRKY DIALOGUELIKE RESERVOIR DOGSRESERVOIR DOGSRESERVOIR DOGSRESERVOIR DOGSRESERVOIR DOGS.
WAIT A MINUTE!I ONLY COUNT TWO
CHARACTERS IN THIS“STORYFORM.” THE MAINAND IMPACT CHARACTERS.
WHAT ABOUTEVERYONE ELSE?
DON’T THEYCOUNT?
OH YES! VERYMUCH. THOSE ARE
THE OVERALL CHARACTERSAND THEY CAN MAKEOR BREAK A STORY
AS EASILY ASANYTHING
ELSE.
LET ME REFRESH YOUON THE DIFFERENCE BETWEENOVERALL AND MAIN VS. IMPACT
CHARACTERS. OVERALLCHARACTERS ARE SEEN BY THEIR
FUNCTION IN THE STORY...
O V E R A L L C H A R A C T E R SO V E R A L L C H A R A C T E R SO V E R A L L C H A R A C T E R SO V E R A L L C H A R A C T E R SO V E R A L L C H A R A C T E R SO V E R A L L C H A R A C T E R SO V E R A L L C H A R A C T E R S
M A I N V S . I M P A C T C H A R A C T E R SM A I N V S . I M P A C T C H A R A C T E R SM A I N V S . I M P A C T C H A R A C T E R SM A I N V S . I M P A C T C H A R A C T E R SM A I N V S . I M P A C T C H A R A C T E R SM A I N V S . I M P A C T C H A R A C T E R SM A I N V S . I M P A C T C H A R A C T E R S
..NOT THEIR EMOTIONALIMPACT, LIKE MAIN VS.IMPACT CHARACTERS.
THE IMPORTANTTHING IN DEVELOPINGOVERALL CHARACTERSIS THAT THEY SERVE
A PURPOSE TO THESTORY. A GOOD WAYTO GET A FEEL FOR
THIS IS BYLOOKING ATARCHETYPES.
EXAMPLES FROM GEORGE LUCAS’STAR WARSSTAR WARSSTAR WARSSTAR WARSSTAR WARS WILL DEMONSTRATE THE VARIOUS
CHARACTERISTICS THAT MAKE UPARCHETYPAL CHARACTERS.
THE PROTAGONIST PROTAGONIST PROTAGONIST PROTAGONIST PROTAGONIST CONSIDERS THE PROBLEM AND PURSUES
THE SOLUTION, LIKE LUKE SKYWALKER IN STAR WARSSTAR WARSSTAR WARSSTAR WARSSTAR WARS.
THE ANTAGONIST ANTAGONIST ANTAGONIST ANTAGONIST ANTAGONIST BALANCES HIMWITH “RECONSIDER” AND “AVOID/PREVENT”
LIKE THE EVIL EMPIRE.
THE SIDEKICK SIDEKICK SIDEKICK SIDEKICK SIDEKICK ARCHETYPE ISFAITHFUL AND SUPPORTIVE --
LIKE THE DROIDS, C3P0 AND R2D2.
THE SKEPTIC SKEPTIC SKEPTIC SKEPTIC SKEPTIC ARCHETYPEREPRESENTS “OPPOSE” AND
“DISBELIEF” LIKE HAN SOLO.
THE REASON REASON REASON REASON REASON ARCHETYPE REP-RESENTS “CONTROL” AND
“LOGIC” LIKEPRINCESS LEIA.
THE EMOTION EMOTION EMOTION EMOTION EMOTION ARCHETYPEREPRESENTS “UNCON-
TROLLED” & “FEELING” LIKECHEWBACCA.
THE GUARDIANGUARDIANGUARDIANGUARDIANGUARDIANARCHETYPE IS
“CONSCIENCE” AND“HELP” -- OBI WANKENOBI IN STARSTARSTARSTARSTAR
WARSWARSWARSWARSWARS.
...ANDTHE CONTAGONIST CONTAGONIST CONTAGONIST CONTAGONIST CONTAGONIST REP-RESENTS “TEMPTATION” AND “HINDER” --
DARTH VADER IN STARTARTARTARTARWARSWARSWARSWARSWARS, WHO DEMON-
STRATES THE TEMPTATIONOF THE “DARK SIDE OF THEFORCE” AND WHO HINDERS
BOTH THE REBELS AND,OCCASIONALLY, THE
EMPIRE.THESE ARE THE FUNCTIONS
PERFORMED IN STORIESBY THE EIGHT ARCHETYPES.
THEIR CHARACTERISTICS LEADTO A COMPLETE EXPLORATION
OF THE OVERALL STORYTHROUGHLINE.
IN MY STORY, IRVINGIS THE PROTAGONIST AND THE
TERRORIST LEADER IS THEANTAGONIST. THE EMOTION
CHARACTER IS THIS TOUGH WO-MAN IRVING BEFRIENDS AND
THE SIDEKICK IS THATWOMAN’S HAND-MAID.
...THESE TWOWORK WITH IRVINGAND HIS WIFE THE
“GUARDIAN” AS THEY PLOT TODEFEAT THE TERRORISTS.
THE NAY-SAYING AUTHOR-ITIES ARE THE SKEPTICS,
AND THE INEFFECTUALCAPTAIN OF THE SHIP
REPRESENTS “REASON...”
WHAT IF SOME OFPENN’S CHARACTERS AREN’T
ARCHETYPAL? PENNWRITES REAL CHARACTERS,
YOU KNOW,NOT CARDBOARD
CUT-OUTS!
ARCHETYPESARE JUST THE
SIMPLEST KINDOF
CHARACTERS.
ANY CHARACTERWHO IS NOT ARCHETYPAL
IS CALLED “COMPLEX.”BUILDING COMPLEX CHAR-ACTERS IS REALLY WHENTHIS WINDOW BECOMESMOST USEFUL BECAUSE
IT PREDICTSRELATIONSHIPS
AS WELL ASCHARACTERISTICS.
DIAGONALLY OPPOSEDCHARACTERS ARE IN
CONFLICT WITH EACHOTHER.
SIDE-BY-SIDE CHARACTERSARE COMPATIBLE, BECOM-
ING COMPANIONS.
CHARACTERS STACKEDVERTICALLY HAVE
QUALITIES THAT COMPLE-MENT EACH OTHER, MAKING
A TEAM.THESE
RELATIONSHIPSREMAIN CONSTANT,
ENSURING THATCHARACTERS STAY
CONSISTENTTHROUGHOUT THE
STORY.
O.K. THISSTUFF IS USEFUL,
BUT HOW DO WE GET FROMHERE TO ACTUALLY
WRITING? PENN DOESN’TNEED ANOTHER DIS-TRACTION, HE NEEDS
TO WRITE!
OH DAMIEN!YOU ADMIT THIS
MIGHT HELP!
DRAMATICA HELPS YOUSTRUCTURE YOUR PLOT IN
STORYFORMING.
THEN YOU“ILLUSTRATE”STORY POINTSSUCH AS A MAINCHARACTER’S “ACTIVITY”INTO SPECIFICEXAMPLES IN YOUR STORY.
LASTLY, “WEAVE”TOGETHER THE ORDERIN WHICH YOU WILLREVEAL YOUR STORYTO THE AUDIENCE
BY CREATINGSCENES ORCHAPTERS.
VIOLA! DRAMATICA HASCREATED A STEP BY STEPOUTLINE READY TO BEHONED INTO A KILLER
FIRST DRAFT!
FOR WRITERS WHO AREUNSURE OF HOW TO
CREATE A TREATMENT,STRUCTURE TEMPLATES
ARE PROVIDED.
DRAMATICA’SSTORYGUIDE
WILL HELPYOU WITH
THIS.
JUST OPEN ATEMPLATE FILE
TO WRITE ASCREENPLAY,
NOVEL, ORSHORT STORY.
NOW YOU KNOWEXACTLY WHAT
YOU WANT TO SAYAND HOW YOU’REGOING TO SAY IT.
ALL THAT’SLEFT IS TO POLISHYOUR TREATMENT
INTO A FIRSTDRAFT.
I USED TO JUST HAVE THIS GUY IN A DRESSFIGHT HIS WAY OFF A SHIP -- NOW HE’S ALSO ON AN
EMOTIONAL JOURNEY. MY MAIN CHARACTERIS DRIVEN BY HIS NEED TO CONTROL HIS
SELF IMAGE, BUT HIS WIFE SEESTHAT IF HE DOESN’T BECOME ONE WITH
HIS WRITING PERSONA HE WILL LOSE HISCHERISHED INTEGRITY. EVERY ACT WILL
STRIP AWAY ANOTHER PIECE OFHIS VULNERABLE MACHISMO.
I’M THERE,PENN. I’M CRYIN!
...THIS MAKES HIM RE-THINKHIS WHOLE LIFE AS HE MANEUVERS
AROUND THE TERRORISTS UNTILHE EVENTUALLY REALIZES
WHAT HIS WIFE HASBEEN SAYING...
...IT’S ONLY BYLETTING LOOSE AND REALLY
EMBRACING HIS UNINHIBITEDAND EMOTIONAL SIDE THATHE CAN TAKE OUT THE BADGUYS AND KEEP HIS JOB.
...AND THAT’S HOWIT ENDS.
THAT WAS SO TOUCHING,PENN. WHERE’D THISPASSION COME FROM?YOU’VE BEEN HIDINGIT. LET’S GET THISSTORY WRITTEN!
THE IMPROVED TREAT-MENT’S ALREADY
DONE! SO YOU FEELIRVING’S PAIN, ANDHIS RELATIONSHIP
WITH HISWIFE?
OH, IT’S MYFAVORITE PART.
THEY’RE SO DEVELOPEDTHAT I WAS INTOTHEIR LOVE STORY
JUST AS MUCHAS THE
ACTION!
ITHINK YOU
MAY BERIGHT.
WELL, LOOKAT THAT.PENN’S A
CHANGED MAN,WHETHER HEREALIZES IT
OR NOT.
I HOPE HE CAN SPARESOME OF THAT
“CHANGE” WHENHE SELLS THAT
SCRIPT, I’VE GOTSOME DEVELOPMENTCOSTS OF MY OWN
TO PAY.
OH, DOYOU WRITE?
SURE, YOU DIDN’TKNOW? YEAH --I WAS WONDERING,COULD YOU GO OVERTHAT “THROUGHLINE” STUFF WITH ME ONE MORE TIME? I’D BE
PLEASED TO.
THIS COULD BETHE BEGINNING OF
A BEAUTIFULRELATIONSHIP
YEAH, BUT YOU’DHAVE TO TURN INTO
A BALL OF LIGHT.
I’M SORRY
ABOUT MY
FIRST DRAFT--
YOU WERERIGHT
IT NEEDED
WORK.
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