Secret of Great Stories

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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/


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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/


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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.


7/35

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."


9/35

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.


10/35

"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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12/35


13/35

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.


14/35

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.


15/35


16/35

"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.


17/35

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.


18/35


19/35

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!


20/35


21/35

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


22/35

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.


23/35

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





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


24/35


25/35

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!.


26/35

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.


27/35

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.


28/35

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...


29/35

...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.


30/35

...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 .


31/35

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.


32/35

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.


33/35

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.


35/35

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