Dramatica Elsewhere

Dynamics Quads

Posted on April 11, 2013

Melanie Anne Phillips reveals new developments in the search for a comprehensive understanding of the dynamics involved in story:

Which brings me (at last) to the subject of this article: my new discovery that finally allows me to bridge the gap from the dynamic questions (the fourth aspect of the current structural model, the current super class, to the next super class: the structural view of dynamics.

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Losing Sight of the Main Character

Posted on April 10, 2013

Jim Hull explores the recent trend in deficient Main Characters and what it means for story:

Writers must keep the point-of-views solid throughout their stories lest they wish to severely disorient those engaging with their work. Centering the Audience with the conflicting perspectives of both Main Character and Influence Character helps clarify what the Author wishes to say with their work.

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Dramatica’s Super Classes

Posted on April 1, 2013

Rare look at Dramatica co-creator Melanie Anne Phillips notebook:

What are Super Classes? Think of the entire Dramatica model as it currently exists and then imagine that whole model is just one element in a quad of four such similar models. The current version and each of its family members in that overarching quad are all considered “Super Classes” because each contains four Classes.

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Why The Main Character’s Approach

Posted on March 28, 2013

Jim gives thought to the reason for Dramatica's story point Main Character Approach:

In each of these cases, the Main Character approaches their personal problem by first taking that path of least resistance. External takes external, internal takes internal. Realizing this, one can easily see how the Main Character’s Approach can be used to identify the source of that central character’s personal problem as well as their response to it.

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The Story Mind Revisited

Posted on March 22, 2013

Concerning the psychology and personality of a story:

By taking time to examine whether your story has a sound psychology that makes it feel like a functional person and that the personality of the story itself is both human and interesting as well, you’ll create a consistency that can’t be achieved simply by looking at the structural elements through a microscope.

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Flipping Perspectives

Posted on March 20, 2013

Dramatica super-fan Jim Hull suggests new terminology to help clear up any confusion surrounding the Main Character Resolve.

But perhaps this use of the word “Change” and applying it to only one of the principal characters becomes too much. It may be the most accurate way to describe the process of a fully-functioning story, but it might also be creating confusion where there shouldn’t be. Like many of the terms found in earlier versions of Dramatica such as Preconscious and Obstacle Character (now Impulsive Responses and Influence Character respectively), a slight modification might be in order.

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Writing Successful Remakes

Posted on March 15, 2013

Dramatica co-creator Melanie Anne Phillips explains why it is important to retain a story's structure when reconceiving a remake.

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A Reason for Rules

Posted on March 13, 2013

Story fanatic Jim Hull explains why it is important for stories to follow certain "rules" of structure, and warns what could possibly happen if you dont:

If you don’t, if you see story as having no boundaries and no limitations then by all means, write to your heart’s content. Fly, be free. Just don’t expect the rest of us to remain engaged in your work. Audiences expect stories to think like they do. Run counter to their instinctual responses and they’ll turn away in droves.

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