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8/14/2019 Secret of Great Stories
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W
OW
32 PAGES OF VINTAGE DRAMATICA!
GREAT STORIES
SCREENPLAY SYSTEMSPresents
THE
SECRETOF
Based On A Theory and Materials Developed By Melanie Anne Phillips & Chris Huntle
GREAT STORIESTHESECRETOF
2 002 50
CANADA
NO. 1JAN
S
The Muse
The Writer
The Executive
FEATURING
http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/8/14/2019 Secret of Great Stories
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The Secret of Great Stories: VolumeThe Secret of Great Stories: VolumeThe Secret of Great Stories: VolumeThe Secret of Great Stories: VolumeThe Secret of Great Stories: Volume
How Does Story Work?How Does Story Work?How Does Story Work?How Does Story Work?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 Screenplay Systems Incorporated
ALL RIGHTS RESERVEDDramatica is a registered trademark ofScreenplay Systems Incorporated
Screenplay Systems Incorporated, 150 East Olive Avenue, Suite 203Burbank, California, United States of America, 91502-1849
Phone: 1-800-84-STORY or 818-843-6557 Fax: 818-843-8364
Visit our websites at www.dramatica.comwww.dramatica.comwww.dramatica.comwww.dramatica.comwww.dramatica.com or www.screenplay.comwww.screenplay.comwww.screenplay.comwww.screenplay.comwww.screenplay.comor email us at [email protected]@[email protected]@[email protected]
SECOND EDITIONOctober 1999
http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.dramatica.com/http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/http://www.screenplay.com/mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]://www.screenplay.com/mailto:[email protected]://www.screenplay.com/http://www.dramatica.com/8/14/2019 Secret of Great Stories
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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 STORYREALLYREALLYREALLYREALLYREALLYIS... UH... GEE, WELLIT'S COMPLICATEDCOMPLICATEDCOMPLICATEDCOMPLICATEDCOMPLICATED! READ ON, AS SCREENWRITER PENN WRIGHT GETS (WITH THE HELP OF DRAMATICA) A FASCINATING 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 WRITINGOR WITH ME.
NO DEPTH? I'VE SOLDTHREE SCRIPTS!
YOU DON'T GET IT.
YOUR STORIESAREN'T YOU. THEYTELL ME YOU'RE APRETENDPRETENDPRETENDPRETENDPRETENDARTIST.
I'M AFRAID WE'RE AT ADEAD END AND I NEED A
RELATIONSHIP THAT GROWS 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 DEPTINTO THIS SCRIPT, ICAN SHOW HER WHI AM! MAYBE I CAN
GET HER BACK!
LET ME HELP.I'M A DEVELOPMEN
EXEC., YOU KNOW
TIME TO THINK.
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LET'S GO!
H E L L O,
W H A T
' S
W H A T
' S
W H A T
' S
W H A T
' S
W H A T
' S
T H I S ?
T H
I S ?
T H I S ?
T H
I S ?
T H I S ?
A T I N
Y
L I G H T
F O L L O W
S
P E N N, M
E N A C I N
G L Y. I KNOW WHAT
CINDY'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 THOUGHT MUSES DISAPPEARED
IN THE WRITER'SSTRIKE!
NOT TRUE,AND BE GLAD'CAUSE YOURSTORY'S INTROUBLE.
TELL ME WHAT YOU WANT ANDI CAN HELP.
I'VE GOT A GOOD STORY IDEA,BUT IT NEEDS "HEART." I CAN'T TELL WHERE TO ADD STUFF AND
WHAT TO LEAVE ALONE.
I USED TOGIVE ELIXIRSTO ANCIENT
GREEKPOETS...
...BUT YOU MAYWANT A WHOLENEW APPROACH. TRY DRAMATICA.
"CREATIVEWRITING PARTNER?"
WHAT WRITER NEEDSCOMPUTERS TO
WRITE FOR HIM?
DRAMATICADRAMATICADRAMATICADRAMATICADRAMATICA WON'T WRITE YOUR STORY,IT HELPS YOU GET
YOUR STORY RIGHT!
SOUNDS LIKEGOOD AD-COPY
TO ME.
DRAMATICA'S A TOOLBASED ON A NEW THEORY
OF STORY. BY ANSWERINGITS QUESTIONS, YOU GUIDE
DRAMATICA TO CREATE A"STORYFORM" - THE BLUEPRINT
OF YOUR STORY.
A STORYFORM HASEVERYTHING YOU NEEDTO MAKE YOUR STORY
COMPLETE. IT WILL HELPYOU GET THAT EMOTIONAL
SIDE FULLY DEVELOPED.
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COMPUTERS CAN'T DEVELOP 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 INHERENT IN ALL STORIES. YOU CAN'T JUST 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 REST WILL 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 - ABOUT HOW THEY WORK?
IIIII KNOWSTORY, I'VESTUDIED ALLTHE GURUS!IT HAS CHARACTER,PLOT, THEME, ANDNARRATIVE DRIVE!
...AND IT WORKSWHEN YOU SELL
ONE!
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BUT WHAT EXACTLYISISISISIS A STORY?
I DON'T HAVEAN EXACT DEFINITION. IJUST KNOW WHENI SEE ONE.
WELL, THAT'S WHEREDRAMATICA BEGAN, BYTRYING TO EXPLAIN STORYCOMPLETELY.
HOLD ON,DARLINGS!
ONE CONCEPT THAT SETS DRAMATICA APART
IS CALLED THE "STORY MIND.""STORY MIND.""STORY MIND.""STORY MIND.""STORY MIND."
THIS IS THE IDEA THAT A COMPLETE STORY IS THEMODEL OF A SINGLE MINDAT WORK FINDING THESOLUTION TO A SINGLEPROBLEM.
YOUR STORY'SCHARACTERS, PLOT,CHARACTERS, PLOT,CHARACTERS, PLOT,CHARACTERS, PLOT,CHARACTERS, PLOT,
THEME,THEME,THEME,THEME,THEME, ANDGENREGENREGENREGENREGENREARE LIKE THETHOUGHTS COMING OUT OF THISMIND AS IT WORKS.
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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
IMPACT CHARACTER
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 GET THE HECK OUT OF
HERE!
OVERALLOVERALLOVERALLOVERALLOVERALLSTORYSTORYSTORYSTORYSTORY
"THAT'S THEOVERALLOVERALLOVERALLOVERALLOVERALL
STORYSTORYSTORYSTORYSTORYVIEW!"
"BE CAREFUL"BE CAREFUL"BE CAREFUL"BE CAREFUL"BE CAREFULIN THERE..."IN THERE..."IN THERE..."IN THERE..."IN THERE..."
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"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."
IMPACT CHARACTER
THE IMPACT CHARACTER'S IMPACT ON
THE MAIN CHARACTERCREATES AN ARGUMENT
BETWEEN THEM, WHICH ISTHE STORY MIND'S FOURTH
POINT OF VIEW:THE MAIN VS. IMPACT THE MAIN VS. IMPACT THE MAIN VS. IMPACT THE MAIN VS. IMPACT THE MAIN VS. IMPACT
STORY.STORY.STORY.STORY.STORY.
"THE IMPACT CHARACTERHAS THE STRONGEST PERSONAL 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 AT THE END."
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THESE FOUR PERSPECTIVES STRETCH FROM THE BEGINNING OF THE STORY TO THE END.THEY ARE ITS FOUR STRUCTURALTHROUGHLINES.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 STORY
MAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTER
IMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTERIMPACT CHARACTER
CAN I SEE ANEXAMPLE? REMEMBER HARPER LEE'S
TO KILL A MOCKINGBIRD?THEMAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTERMAIN CHARACTER IS A
GIRL NAMEDSCOUT SCOUT SCOUT SCOUT SCOUT .
SURE.SURE.SURE.SURE.SURE.
WE SEE EVERYTHING THROUGH HER EYESBUT THE PROTAGONIST OF THEOVERALL 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 RADLEYIS HERIMPACT 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 SCOUCHANGE HER PREJUDICE ABOUT
YEAH, I SEE THOSETHROUGHLINES. I'M
WRITING A SCRIPT THAT I CALL "EVERY MAN FOR
HIMSELF."
I'VE NEVER HEARD OFTHE IMPACT CHARACTER
BEFORE, AND I DON'T HAVE ONE.
A MISSING IMPACT CHARACTER 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 FORCEDTO DRESS AS A WOMAN TOPROTECT HIS IDENTITY.
HE'S CAUGHT THIS WAY WHEN
TERRORISTS ATTACKTHE CRUISE. TO SAVE
THE DAY, HE HAS TO FIGHT AS 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, THETIE HER TO THE BOM
WE CAN GET THISFROMDIE HARDDIE HARDDIE HARDDIE HARDDIE HARD ! LET'S
GET OUT OF HERE.
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"THIS IS DIFFERENT FROM ANYTHINGYOU'VE EVERHEARDABOUT STORY."
"SYMBOLIZING YOUR STORYFORM GETSYOU TO FULLY KNOW YOUR STORY."
"THEN COMESSTORY WEAVINGSTORY WEAVINGSTORY WEAVINGSTORY WEAVINGSTORY WEAVING DECIDINGHOW TO PRESENT THIS STORY TO AN
AUDIENCEWRITING 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 COPYDIE 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'LL
CREATE THE BLUEPRINT FOR YOURSTORY'S THROUGHLINES, CHARACTER,
PLOT, AND THEME."
"THE 12 ESSENTIAL QUESTIONS COME IN
THREE GROUPS: THE FIRST FOUR QUESTIONS SEUP THE MAIN CHARACTER, THEN FOUR QUESTIONABOUT PLOT, AND FINALLY FOUR QUESTIONSABOUT THE OVERALL STORY THROUGHLINE."
"THESE ANSWERS GET YOU A SINGLESTORYFORM, DETERMINING YOUR
STORY'SSTRUCTURESTRUCTURESTRUCTURESTRUCTURESTRUCTURE."
"THE NEXT STEP IS TO WRITEEXAMPLES OF HOW THAT STRUCTURE PLAYS OUT IN
ILLUSTRATINGILLUSTRATINGILLUSTRATINGILLUSTRATINGILLUSTRATING ."
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WHOA!WHAT'S GOING
ON?
THIS MAN WILLHELP DEMONSTRATE
THE NEXT QUESTION:
WHAT'S YOURMAIN
CHARACTER'SAPPROACH
DO-ERDO-ERDO-ERDO-ERDO-ERORBE-ERBE-ERBE-ERBE-ERBE-ER? I CAN'T TAKE IT!
YOU'RE A DO-ER! YOU DIDN'T EVEN 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 PRESENCECAN WORK LIKE A PUNCH
IN 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 SEXIST TREATMENT. BUT HE'S VERY
WILLING TO KICK TERRORIST BUTTWHEN HE HAS TO.
DO-ER.
GREAT! MIX IT UP 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 BEIN
TREATED LIKE A LADY.
HOW DOESTHAT FEEL?
LIKE IRVING'SBECOMING A
LOT MORE REAL.
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FINE. NOW THE LAST MAINCHARACTER DYNAMIC:
PROBLEM SOLVINGSTYLE.
HEY LADY!I'M STYLINGHERE...
ONE STYLEIS INTUITIVE...
I WASGONNA
SAY THAT !
THAT MAKES 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
CHARACTERUSE: 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 SAWTHIS 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 THAT FINALLY SHIFTED INTO
CREATING A GOOD MOMENT FOR A KISS. THAT'S THEDIFFERENCE BETWEEN SEEINGTHINGS LOGICALLY AND
INTUITIVELY.
NEITHER POINT OF VIEWIS RIGHT OR WRONG, BUT ONE
CARRIES MORE WEIGHT FORYOUR MAIN CHARACTER ANDAFFECTS HOW HE PERCEIVESOR DECIDES ANYTHING.
IT'S NOT AS FUNAS IT SOUNDS.
THEOTHER ISLOGICAL.
USUALLY,MEN FAVOR
LOGICAL, WOMENINTUITIVE.
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"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 MAKESIT 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 BYACTIONSACTIONSACTIONSACTIONSACTIONSORDECISIONSDECISIONSDECISIONSDECISIONSDECISIONS ?
NEITHER!FOOTBALL'S DRIVEN
BY SALARIES!
NO, THEOFFENSE MAKES ITS
PLANS IN THEHUDDLE. SO...FOR
THEM IT'SDRIVEN BYDECISIONS!
WHAT ABOUT THE 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 ALSOAFFECTS THE MAIN CHAR-ACTER. HAMLET'S STORYIS DRIVEN BY ACTIONS--
BEGINNING WITH THEAPPEARANCE 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 NOT FIND THAT MIX COMFORTABLE.
THAT'SWHAT WE WANT,
PENN, PICK "ACTION."
JOHN MCCLANE INDIE HARDDIE HARDDIE HARDDIE HARDDIE HARD IS A DO-ER,
SUITED TO HISACTION DRI-
VEN STORY.
JUST PICKING DOESN'T SAYHOW MUCH ACTION OR DELI-BERATION THERE'LL BE, JUST WHICH FORCES THE OTHER.
THE FUGITIVETHE FUGITIVETHE FUGITIVETHE FUGITIVETHE FUGITIVEHAS LOTS OFACTION,
BUT IT'S ADECISIONDRIVENSTORY...
"WHILEBEING 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.
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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 THAT ACTIONS 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'SALL DRAMA IS, YOU KNOW,
CONFLICT.
A STORY IS MORE THANJUST DRAMA, THOUGH.
STILL, WHAT ELSECAN YOU SHOW MEABOUT CONFLICT?
MUCH MORE. FOREXAMPLE, STORY LIMIT HAS A STRONG IMPACT ONTHE CONFLICT IN YOUR STORY.
WHAT WILL RAISE TENSIONAND BRING YOUR STORY TO
AN END?
...RUNNING OUR OFTIME, LIKEHIGH NOONHIGH NOONHIGH NOONHIGH NOONHIGH NOON ?
...OR RUNNING OUT OF OPTIONS LIKE INA "WHO-DONE-IT?"
THE KILLER IS SOMEONE IN THIS THIS THIS THIS THIS ROOMROOMROOMROOMROOM!
FOR EXAMPLE, IMAGINEYOU HAVE TO SEARCH A MANSIONFOR CLUES TO A MYSTERY.A TIMELOCKTIMELOCKTIMELOCKTIMELOCKTIMELOCK WOULD BE
IF YOU ONLY GET FIVE MIN-UTES TO SEARCH ASMANY ROOMS AS
YOU LIKE.
ANOPTIONLOCKOPTIONLOCKOPTIONLOCKOPTIONLOCKOPTIONLOCKWOULD BE IF YOU ARE
ONLY ALLOWED TOCHOOSE FIVE ROOMSTO LOOK IN. CONFLICT RISES AS YOUR STORY
EITHER RUNS OUT OF TIME,LIKE EDDIE MURPHY'S48 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.
The Butler! I knew
it!
I BET YOU DON'T WANT YOUR 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, THAT DOES TIGHTEN
THINGS UP.
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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 JUDGMENT IS " BADBADBADBADBAD."
OUTCOME ANDJUDGMENT COMBINE
TO CREATE FOURKINDS OF ENDINGS.
TRAGEDIES, WHICHEND IN FAILURE/BAD
LIKEHAMLET HAMLET HAMLET HAMLET HAMLET .
...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,
LIKERAIN 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--LIKECASABLANCACASABLANCACASABLANCACASABLANCACASABLANCA.
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 ENDIN
SELL!
THIS COULD BETHE BEGINNING OF
A BEAUTIFULRELATIONSHIP!
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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 WITHOUR THROUGHLINES, RIGHT?
THE OVERALL STORY, THE MAINCHARACTER, THE IMPACT
CHARACTER, AND THEMAIN VS. IMPACT STORY?
RIGHT. THOSE FOUR PERSPECTIVES THE WAYS TO SEE INTO YOUR STORYYOUR STORY IDEA GIVES THEMSOMETHING TO LOOKAT.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 THISJUNGLETHE 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 EXTERNALCHANGING EXTERNALCHANGING EXTERNALCHANGING EXTERNALCHANGING EXTERNALPROBLEM
THE FIXED ATTITUDE CLDESCRIBES A
STATIC INTERNALSTATIC INTERNALSTATIC INTERNALSTATIC INTERNALSTATIC INTERNALPROBLEM
F I X E D F I X E D F I X E D F I X E D F I X E D
A T T I T U D E S
A T T I T U D E S A T T I T U D E S
A T T I T U D E S
A T T I T U D E S
A C T I V I T I E S
A C T I V I T I E S A C T I V I T I E S
A C T I V I T I E S
A C T I V I T I E S
S I T U A T I O N
S I T U A T I O N S I T U A T I O N
S I T U A T I O N
S I T U A T I O N
M A N I P U L A T I
O N M A N I P
U L A T I O N
M A N I P U L A T I
O N M A N I P
U L A T I O N
M A N I P U L A T I O
N F I X E D F I X E D F I X E D F I X E D F I X E D
A T T I T U D E S
A T T I T U D E S A T T I T U D E S
A T T I T U D E S
A T T I T U D E S
M A N I P U L A T I
O N M A N I P
U L A T I O N
M A N I P U L A T I
O N M A N I P
U L A T I O N
M A N I P U L A T I O
N
A C T I V I T I E S
A C T I V I T I E S A C T I V I T I E S
A C T I V I T I E S
A C T I V I T I E S
S I T U A T I O N
S I T U A T I O N
S I T U A T I O N
S I T U A T I O N
S I T U A T I O N
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AUDIENCE!
THEY ARE MATCHED TOTHE FOUR THROUGHLINES
IN THE MOST IMPORTANT STRUCTURAL CHOICEAUTHORS FACE IN
DRAMATICA.
BUT PENN'S STORY DEALS WITH ALLFOUR KINDS OF PROBLEMS.
SURE, TAKECASABLANCACASABLANCACASABLANCACASABLANCACASABLANCA. ITS OVERALL STORYTHROUGHLINE IS AN"ACTIVITY""ACTIVITY""ACTIVITY""ACTIVITY""ACTIVITY"WHERE
EVERYONE'STRYING TO OBTAINTRYING TO OBTAINTRYING TO OBTAINTRYING TO OBTAINTRYING TO OBTAIN "EXIT VISAS" TOESCAPE GROWING NAZI CONTROL.THESE FOURCLASSES ARE
IN EVERYSTORY.
THE PROBLEM AT THE HEART OF YOUR STORYIS 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.
ANACTIVITYACTIVITYACTIVITYACTIVITYACTIVITY OVERALL STORYWOULD EMPHASIZE THE ACTIVITIES OFWAR, LIKETHE GUNS OF NAVARONETHE GUNS OF NAVARONETHE GUNS OF NAVARONETHE GUNS OF NAVARONETHE GUNS OF NAVARONE . WHAT BRINGS 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 CAUGHT IN 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 TH
LOVES AND LOYALTIES.
SITUATION
MANIPULATION
ACTIVITY
FIXEDATTITUDE
ASITUATIONSITUATIONSITUATIONSITUATIONSITUATION OVERALL STORY WOULDDEAL WITH A FIXED STATE OF WAR,SUCH ASTHE 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 CREATEMORE TROUBLE THAN
THE ENEMY.
AN OVERALL STORY CENTERED ONMANIPULATIONSMANIPULATIONSMANIPULATIONSMANIPULATIONSMANIPULATIONS IS LIKEPATHSPATHSPATHSPATHSPATHSOF GLORYOF GLORYOF GLORYOF GLORYOF GLORY. WHERE THEOFFICERS MANIPULATIVE"TRIAL" LEADS TO INJUSTICEIN THE NAME OF JUSTICE.
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WHICH KINDOF PROBLEM BRINGSYOUR OVERALL CHARACTERS
TOGETHER?I DON'T KNOW, I SEE
THEM ALL.
SITUATIONSITUATIONSITUATIONSITUATIONSITUATIONA C T I V I T Y
A C T I V I T Y
A C T I V I T Y
A C T I V I T Y
A C T I V I T Y
M A N I P U L A T I O N
M A N I P U L A T I O N
M A N I P U L A T I O N
M A N I P U L A T I O N
M A N I P U L A T I O 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 JUST DESCRIBED ALL FOURTHROUGHLINES IN
YOUR STORY.
"THE OVERALL STORY HASEVERYONE DEALING WITHTHE SITUATION OFBEING HELD HOSTAGE ONA BOAT."
A SITUATIONA SITUATIONA SITUATIONA SITUATIONA SITUATION
MANIPULATIONMANIPULATIONMANIPULATIONMANIPULATIONMANIPULATION FIXED ATTITUDEFIXED ATTITUDEFIXED ATTITUDEFIXED ATTITUDEFIXED ATTITUDE
ACTIVITYACTIVITYACTIVITYACTIVITYACTIVITY
"THE MAIN CHARACTER IS A NASEAL TRYING TO WRITEA PERDEFINED BY HIS ENDEAVOR TOBECOME A WRITER."
"IRVING'S WIFE, THE IMPACT CHARACTERIMPACTS IRVING THROUGH HERMANIPULATIONS..."
...AND THE MAIN VS. IMPACT STOEXPLORES THE FIXED ATTITUDESTHEIR RELATIONSHIPESPECIALREGARDING WHAT IT MEANS 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"
S I T U
A T I O
N
S I T U
A T I O
N
S I T U
A T I O
N
S I T U
A T I O
N
S I T U
A T I O
N
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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 TWO
TERMS CAN MEAN THESAME 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 HASCONCERN. FOR EVERY QUESTIO
IN THE OVERALL STORY, THESAME QUESTION EXISTS IN THE
OTHER THROUGHLINES. DRAMATWILL PROVIDE THE ANSWERS BAS
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!.
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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 ISAN"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'SGUILT 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 RESISTANCEHELPS 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.
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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 DISEASEIN THE STORY. IF EVERYONECOULD SEE THE PROBLEM
CLEARLY, THEY'D SOLVE IT. BUTHE
DONBECAU
THEY'RE BUWITH TH
SYMPTOMS THE PROBLE
THAT'S THE OVEALL STORY SYMPT
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'T CURE
THE PROBLEM...
THE PROBLEM IS FINALLYRECOGNIZED SOME TIME NEAR
THE CLIMAX."SUCCESS" REPLACES THE
PROBLEM WITH THE SOLUTION.
"FAILURE" DOESN'T.
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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 BETHEMATICALLY 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 MOST OBVIOUS 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 BEEASILY CONTROLLED KEEPSEVERYONE UNDER WRAPSUNTIL EVENTUALLY THESOLUTION OF BEHAVING
UNCONTROLLED ALLOWS THE WOMENTO OVERTAKE THE TERRORISTS.
SOUNDS GOOD!CONGRATULATIONS...
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...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 PLOT OUTLINE 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 LISTS
EVERY SINGLE STORYPOINT IN YOURSTORYFORM
IT IS THESKELETON OF YOUR
STORY. EACH THROUGHLINEHAS A CONCERN, ISSUE, PROBLEM
SOLUTION, SYMPTOM, AND RE-SPONSE. -- NOW DRAMATICA SHOW
YOU WHAT THOSE ARE.
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...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'SRELATIONSHIP WITH HIS
WIFE/IMPACT CHARACTER...
...IS THEIR "INNERMOST DESIRES"-- WHICH IRVING'S FAME AS A
WRITER CAN EITHERMAKE REAL OR POSTPONEFOREVER DEPENDING ON HOW
IRVING 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 THAT WILL HELP CONVINCE IRVING TO
CHANGE, RIGHT?
SO IRVING'S WIFESHOULD SEE HER COMMITMENT TO IRVING AND HIS COMMIT-MENT TO WRITING AS THEREASONS WHY THEY HAVETO GO ON THE CRUISE. IN HEROPINION, IRVING SHOULD GET INTO THE EXPERIENCE OF BEINGSEEN AS A WOMAN, SO HE CANFULFILL HIS COMMITMENTS TO HISREADERS AS THE AUTHOR OF
THEIR "LOVE COLUMN."
THAT WILL
WORK, FOR ASTART.
I SEE WHAT WASMISSING IN MY STORY,
NOW THAT I'M PUTTINGTHIS IN HERE. WITHOUT A
DEVELOPED IMPACT CHARACTER,IRVING WOULD HAVE NO
REASON TO CHANGE.THIS IS THE SIDE OF
THE STORY I WASN'T LOOKINGAT BEFORE.
GREAT,NOW ALL WE NEED IS
SOME QUIRKY DIALOGUELIKERESERVOIR DOGSRESERVOIR DOGSRESERVOIR DOGSRESERVOIR DOGSRESERVOIR DOGS .
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WAIT A MINUTE!I ONLY COUNT TWO
CHARACTERS IN THIS"STORYFORM." THE MAINAND IMPACT CHARACTERS.
WHAT ABOUT EVERYONE ELSE?
DON'T THEY
COUNT?
OH YES! VERYMUCH. THOSE ARE
THE OVERALL CHARACTERSAND THEY CAN MAKE
OR BREAK A STORYAS EASILY AS
ANYTHINGELSE.
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 SV E R A L L C H A R A C T E R S
MAIN VS. IMPACT CHARACTERSMAIN VS. IMPACT CHARACTERSMAIN VS. IMPACT CHARACTERSMAIN VS. IMPACT CHARACTERSMAIN VS. IMPACT CHARACTERSMAIN VS. IMPACT CHARACTERSA I N V S . I M PA C T C H A R A C T E R S
..NOT THEIR EMOTIONALIMPACT, LIKE MAIN VS.IMPACT CHARACTERS.
THE IMPORTANT THING IN DEVELOPINGOVERALL CHARACTERSIS THAT THEY SERVE
A PURPOSE TO THESTORY. A GOOD WAY
TO GET A FEEL FORTHIS IS BY
LOOKING AT ARCHETYPES.
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 CONSIDERSTHE PROBLEM AND PURSUES
THE SOLUTION, LIKE LUKESKYWALKER INSTAR WARSSTAR WARSSTAR WARSSTAR WARSSTAR WARS .THE ANTAGONIST ANTAGONIST ANTAGONIST ANTAGONIST ANTAGONIST BALANCES HIM
WITH "RECONSIDER" AND "AVOID/PREVENT"LIKE THE EVIL EMPIRE.
THE SIDEKICKSIDEKICKSIDEKICKSIDEKICKSIDEKICK ARCHETYPE ISFAITHFUL AND SUPPORTIVE --
LIKE THE DROIDS, C3P0 AND R2D2.THE SKEPTICSKEPTICSKEPTICSKEPTICSKEPTIC ARCHETYPE
REPRESENTS "OPPOSE" AND"DISBELIEF" LIKE HAN SOLO.
THE REASONREASONREASONREASONREASON ARCHETYPE REPRESENTS "CONTROL" AND
"LOGIC" LIKEPRINCESS LEIA.
THE EMOTIONEMOTIONEMOTIONEMOTIONEMOTION ARCHETYP
REPRESENTS "UNCON-TROLLED" & "FEELING" LIKCHEWBACCA.
THE GUARDIANGUARDIANGUARDIANGUARDIANGUARDIANARCHETYPE IS
"CONSCIENCE" AND"HELP" -- OBI WANKENOBI IN STARSTARSTARSTARSTAR
WARSWARSWARSWARSWARS....AND
THE CONTAGONIST CONTAGONIST CONTAGONIST CONTAGONIST CONTAGONIST REP-RESENTS "TEMPTATION"
AND "HINDER" --DARTH VADER IN STARTARTARTARTAR
WARSWARSWARSWARSWARS , 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.
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IN MY STORY, IRVINGIS THE PROTAGONIST AND THE
TERRORIST LEADER IS THEANTAGONIST. THE EMOTION
CHARACTER IS THIS TOUGH WO-MAN IRVING BEFRIENDS ANDTHE SIDEKICK IS THAT WOMAN'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 SHIPREPRESENTS
"REASON..."
WHAT IF SOME OFPENN'S CHARACTERS AREN'T
ARCHETYPAL? PENNWRITES REAL CHARACTERS,
YOU KNOW,NOT CARDBOARDCUT-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 THAT CHARACTERS STAYCONSISTENT
THROUGHOUT THESTORY.
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O.K. THISSTUFF IS USEFUL,
BUT HOW DO WE GET FROMHERE TO ACTUALLY
WRITING? PENN DOESN'T NEED 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 INYOURSTORY.
LASTLY, "WEAVE"TOGETHER THE ORDERIN WHICH YOU WILLREVEAL YOUR STORY
TO THE AUDIENCEBY CREATINGSCENES ORCHAPTERS.
VIOLA! DRAMATICA HASCREATED A STEP BY STEPOUTLINE READY TO BE
HONED INTO A KILLERFIRST DRAFT!
FOR WRITERS WHO AREUNSURE OF HOW TO
CREATE A TREATMENT,STRUCTURE TEMPLATES
ARE PROVIDED.
DRAMATICASTORYGUID
WILL HELYOU 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 FIRST DRAFT.
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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 THAT HE CAN TAKE OUT THE BAD
GUYS AND KEEP HIS JOB....AND THAT'S HOW
IT ENDS.
THAT WAS SO TOUCHING,PENN. WHERE'D THISPASSION COME FROM?YOU'VE BEEN HIDINGIT. LET'S GET THIS
STORY WRITTEN!
THE IMPROVED TREAT-MENT'S ALREADY
DONE! SO YOU FEEL
IRVING'S PAIN, ANDHIS RELATIONSHIPWITH HIS
WIFE?
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 HECAN SPARE
SOME OF THAT "CHANGE" WHEN
HE SELLS THAT SCRIPT, I'VE GOT
SOME DEVELOPMENT COSTS OF MY OWN
TO PAY.
OH, DOYOU WRITE?
SURE, YOU DIDN'T KNOW? YEAH --I WAS WONDERING,COULD YOU GO OVERTHAT "THROUGHLINE"STUFF WITH ME
ONE MORETIME? 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 S O R R Y
ABO U T M Y
F I RS T D RA F T --
YO U W E R E
R I G H T
I T N E E D E D
W O RK.
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