A Comparison of Seven Story Paradigms

Dramatica® · Syd Field · Michael Hauge · Robert McKee · Linda Seger · John Truby · Christopher Vogler ​

How and Why Dramatica is Different from Other Story Paradigms ​

by Chris Huntley

I spent nearly sixteen years avoiding reading anything of substance by (Hollywood) story theorists such as Syd Field, John Truby, Christopher Vogler, Robert McKee and others. As co-creator of the Dramatica theory of story, I didn't want to influence my development of Dramatica so I avoided direct interaction with competing theories.

In 2006 I decided to lift my self-imposed ban. I figured my understanding of Dramatica was mature enough that I didn’t have to worry about "contaminating" it by exposure to the competing theories. It was past time that I figured out how other story theories are similar and dissimilar to Dramatica, why they are different (assuming they are), and what those similarities and differences mean.

Originally written as a series of articles, I’ve reworked my findings into this single paper. I’ve divided the results into four major topics of comparison:

• Story Throughlines
• Hero, Protagonist, and Main Character
• Character Growth and Resolve
• Plot Structure

I’ve also included an overview of the source materials, some initial observations, and a summary at the end. I’ve tried to be as objective as I can and I’m always interested in feedback and notices of errors and omissions.

RESOURCE MATERIALS ​

There are dozens of “how to” books on story structure, especially in the screenwriting field. I chose to compare the Dramatica theory of story with the story paradigms of six popular writing gurus:

• Syd Field
• Michael Hauge
• Robert McKee
• Linda Seger
• John Truby
• Christopher Vogler

Each has written books and lectured widely on the subject of story and story structure.

SYD FIELD ​

I watched Syd Field's video, Screenwriting Workshop. It's well made for a talking head instructional video though the opening music is cheesy. Syd comes across as warm and authoritative. He gives good writing advice.

MICHAEL HAUGE ​

I watched The Hero's 2 Journeys (DVD) by Michael Hauge (Writing Screenplays That Sell) and Christopher Vogler (The Writer's Journey). The production values were fair. Having these two story guys working together was very interesting. Their story paradigms appear to be very different but are surprisingly compatible. Both Hauge and Vogler are good speakers and communicators.

ROBERT McKEE ​

I read Robert McKee’s book, Story. It’s a good book with lots of great story examples. His “Chinatown” example of writing from the inside out is brilliant (pp. 154–176). There is no question that McKee loves story, knows film and theatre intimately, writes well, and has a lifetime of experience to back up his advice.

In many ways, Story is inspirational. I recommend reading this book, especially if you are a screenwriter.

LINDA SEGER ​

I read her seminal book, Making A Good Script Great (1984) and sections of Creating Unforgettable Characters (1990) and Advanced Screenwriting: Raising your Script to the Academy Award Level (2003).

Seger’s strengths are in understanding the writer’s intent and expressing it effectively. She uses real-world examples and speaks authoritatively about screenwriting.

JOHN TRUBY ​

I reviewed 51 pages of notes from his Story Structure and Advanced Screenwriting workshops. Truby’s material extends beyond structure but is sufficient to understand his paradigm. He also gives excellent descriptions of storytelling conventions across genres.

CHRISTOPHER VOGLER ​

I read The Writer's Journey (2nd Edition). Vogler’s writing is engaging and articulate, with an honest and balanced tone. It expands upon his earlier DVD with detailed archetype discussions.

DRAMATICA ​

Source: Dramatica: A New Theory of Story (10th Anniversary Edition, 2004). As co-author and co-creator, I was already deeply familiar with this material.

INITIAL OBSERVATIONS ​

The six non-Dramatica paradigms generally fit into two broad categories:

1. Post-Aristotelian Paradigms

   • Rooted in Lajos Egri (The Art of Dramatic Writing)
   • Emphasize Character function
   • Includes Syd Field, Michael Hauge, and Robert McKee

2. The Hero’s Journey Paradigms

   • Rooted in Joseph Campbell’s Hero with a Thousand Faces
   • Includes John Truby and Christopher Vogler

Linda Seger straddles both, recognizing multiple mythic forms.

By contrast, Dramatica doesn’t fit either category—it’s broader, encompassing both and extending beyond.

Another shared assumption:

The story’s Main Character (or Hero) both changes and serves as the Protagonist in a happy ending (Success/Good) story.

Seger is an exception in acknowledging steadfast characters, but overall these paradigms are structurally rigid.

While reading Vogler, I noticed much of his insight “felt right.” He connected story meaning to real-world meaning. But I also saw conditions where those assumptions failed.

Then came the “aha” moment: Vogler was speaking about meaning, while Dramatica focuses on predictive structure.

Key Axiom: If you look for meaning in your story, you cannot predict how to put your story together. If you want to predict how to put your story together, you cannot know what your choices will mean.

Meaning = audience perspective Structure = author perspective

McKee, Field, Vogler, and Hauge write from the audience’s perspective, focusing on meaning. Dramatica works from the author’s perspective, focusing on structure.

STORY THROUGHLINES ​

Dramatica posits four throughlines, while other paradigms have only one or two:

Two throughlines missing or underdefined elsewhere:

• Influence Character Throughline — the alternative viewpoint that challenges the MC.
• Relationship Story Throughline — the emotional “We” relationship dynamic.

Without these, stories feel incomplete—lacking personal growth or emotional resonance.

Dramatica explains why there are exactly four throughlines: They correspond to the four perspectives of human experience (“I,” “You,” “We,” “They”).

HERO, PROTAGONIST, AND MAIN CHARACTER ​

Dramatica separates them:

• Protagonist — leads pursuit of the Story Goal (objective).
• Main Character — provides personal viewpoint (subjective).

This separation allows unique combinations: e.g., protagonist ≠ main character.

CHARACTER GROWTH AND RESOLVE ​

Most paradigms equate growth with change. Dramatica distinguishes between growth and resolve:

• Growth: recognition of the true source of conflict
• Resolve: whether the MC changes or remains steadfast

Change characters shed justifications to alter worldview. Steadfast characters reinforce their choice until tested to the limit.

Both are valid; Dramatica covers both halves of human experience.

Examples of steadfast MCs: Romeo (Romeo and Juliet), Jim Stark (Rebel Without a Cause), Jake Gittes (Chinatown), Clarice Starling (Silence of the Lambs).

PLOT STRUCTURE ​

Plot is the temporal backbone of a story. Each paradigm offers a version of act structure, summarized below:

Example 1: Syd Field’s Paradigm ​

ACT I       ACT II        ACT III
|-----------|--------------|----------|
Inciting    Midpoint       Climax
Incident    (Pinch 1/2)    & Resolution

Setup – Confrontation – Resolution

Example 2: Robert McKee’s Central Plot & The Quest ​

Central Plot:

ACT I      ACT II      ACT III
Inciting   Progressive  Crisis/
Incident   Complications Climax

The Quest: Depicts flow of conflict (+/–) between inner, personal, and extrapersonal struggles toward conscious/unconscious desires.

Example 3: Linda Seger’s “Story Spine” ​

Setup → First Turning Point → Second Turning Point → Climax → Resolution

Allows subplot (“B Story”) integration.

Example 4: John Truby’s “22 Building Blocks” ​

Linear sequence from:

Self-Revelation → New Equilibrium

Integrates Need (internal) and Desire (external), blending Campbell’s mythic ideas.

Example 5: Christopher Vogler’s “Hero’s Journey” ​

Four-act disguised as three:

Ordinary World → Call to Adventure → Ordeal → Resurrection → Return with the Elixir

Combines The Hero’s Journey and Character Arc timelines.

Example 6: Michael Hauge’s Six Stage Plot Structure ​

Outer and Inner Journeys interlaced:

Example 7: Dramatica Act Structure ​

ACT I | ACT II | ACT III | ACT IV
---------------------------------
Objective Story, Main Character,
Influence Character, Relationship Story
(Each with 4 Signposts)

Includes 4 throughlines × 4 acts = 16 Signposts. The nature of each Signpost is determined by the storyform.

INITIAL COMPARISONS ​

Dramatica looks more complex and less “writer-friendly”, using technical terms like Signposts and Journeys. Yet this reflects its authorial (structural) precision versus the others’ audience (meaning) focus.

DRAMATICA’S STRENGTHS & WEAKNESSES ​

Weaknesses:

• Complex
• Non-intuitive terminology
• Dry, functional presentation

Strengths:

• Author-based, predictive model
• Comprehensive (covers all four perspectives)
• Integrates Character, Theme, Genre, Plot
• Distinguishes Plot from Storyweaving (order of presentation)

“With Dramatica we didn’t find patterns — we found the pattern maker.”

Dramatica offers over 100 unique story points, 44 of which relate directly to plot. Other systems only describe partial frameworks (1–2 throughlines).

SUMMARY AND CONCLUSIONS ​

Dramatica provides an objective author’s model for understanding story mechanics. Other paradigms give valuable audience-based insight but lack predictive completeness.

“No single story paradigm holds all the answers. Each has treasures to offer. But Dramatica’s comprehensive model reveals the deepest structure beneath them all.”

REFERENCES ​

Field, S. (1999). Syd Field’s Screenwriting Workshop [VHS]. Hauge, M., & Vogler, C. (2003). The Hero’s 2 Journeys [DVD]. Huntley, C. N., & Phillips, M. A. (2004). Dramatica: A New Theory of Story. McKee, R. (1997). Story: Substance, Structure, Style and the Principles of Screenwriting. Seger, L. (1984–2003). Making a Good Script Great, Creating Unforgettable Characters, Advanced Screenwriting. Truby, J. (1990). Truby’s Story Structure & Advanced Screenwriting [Lecture Workshop]. Vogler, C. (1998). The Writer’s Journey: Mythic Structure for Writers.

Contact: Chris Huntley — chris@screenplay.com Visit Dramatica.com or Screenplay.com Write Brothers, Inc. • 138 N. Brand Blvd. #201 • Glendale, CA 91203 • 818-843-6557

Copyright © 2007 Write Brothers, Inc.