Overall Story Throughline

Every story is set against the issues which arise from a single problem. The problem itself will fall into one of four broad categories. If you want the problem to grow out of a situation, then choose Situation; if you want the problem to emanate from an activity, then choose Activity. If you want the problem to evolve from fixed attitudes and states of mind, then choose Fixed Attitude; and if you want the problem to result from the characters' manipulations and ways of thinking, then choose Manipulation.

An author cannot successfully make an argument promoting a solution until he or she has identified the Problem. In stories, Problems can be identified as falling into four broad categories: Situations, Activities, States of Mind, and Manners of Thinking.

These categories are named by the four Classes, Situation (a situation), Activity (an activity), Fixed Attitude (a state of mind), and Manipulation (a manner of thinking).

Since they are related, all four of these Classes will figure in every story as the Problem works its influence into all areas of consideration. However, only one Class will ultimately prove to be both the source of the Problem's roots and therefore the place it must ultimately be solved.

The Overall Story Throughline is the throughline which describes how all of the story's characters have been brought together. By choosing this Throughline, the author sets the background against which the story will be told. Therefore, its influence is gently felt throughout the story.

A SITUATION story deals with an unacceptable situation - one in which the external environment is seen as problematic. This could be a job situation with poor working conditions, being trapped in a sunken ship, waking up as someone else, living next to an orphanage that keeps you awake at night with its screaming waifs or any other intolerable state of affairs. Often, the best way to see a Situation Overall Story is in terms of the Types below the Class of Situation: The Past, How Things are Changing, The Future, and The Present. These Types will be of primary importance to all the Overall Characters in a Situation Overall Story.

An ACTIVITY story employs an activity that needs to arrive at a solution. This might be the effort to steal the crown Jewels, win the love of your heart's desire, make the Olympic team, or raise the money to buy the orphanage and evict all the screaming waifs. Note that if the existence of the orphanage is the focus of the story, it is a Situation (Situation) Throughline. However, if the effort to buy it is the focus, it is a Activity (Activity) Throughline. Often, the best way to see a Activity Overall Story is in terms of the Types below the Class of Activity: Doing, Gathering Information, Understanding, and Obtaining. These Types will be of primary importance to all the Overall Characters in a Activity Overall Story.

In a like manner, the Fixed Attitude Throughline reflects a state of mind and the Manipulation Throughline describes a mental activity (or manner of thinking). Fixed Attitude Throughline stories might be about prejudice, a lack of self-worth (if it is a fixed view), or a refusal to see the value of someone's desires. Remember that, as an Overall Story Throughline, these fixed states of Mind will be the source of the problems that everyone in the Overall Story deals with. This would be an Overall view of problems of fixed states of mind, and not looking at how it feels to have these fixations. Often, the best way to see a Fixed Attitude Overall Story is in terms of the Types below the Class of Fixed Attitude: Memories, Impulsive Responses, Innermost Desires, and Contemplation. These Types will be of primary importance to all the Overall Characters in a Fixed Attitude Overall Story.

A MANIPULATION Throughline supports stories where people take too many risks, are egocentric, or make light of serious situations. Overall Stories of this Throughline will look at the effect of a person's or persons' thinking in these ways to manipulate others. Placing the Overall Story in this Throughline means in essence that the story will objectify Manipulation, taking an Overall view of these ways of thinking and their effects. The problems that everyone in the Overall Story deals with will come from ways of thinking and their manipulations. Often, the best way to see a Manipulation Overall Story is in terms of the Types below the Class of Manipulation: Developing a Plan, Playing a Role, Changing One's Nature, and Conceiving an Idea. These Types will be of primary importance to all the Overall Characters in a Manipulation Overall Story.

As a final note, it is important to keep in mind that stories are often not about a problem that exists but a desire to be fulfilled. Stories of this nature can create a much more positive feel as exemplified in a Situation story in which an heiress must spend a million dollars in 24 hours to inherit 30 million more, a Activity story where a mountaineer hopes to be the first to scale a mountain on Mars, a Fixed Attitude story of unconditional love, or a Manipulation story about overcoming a dependence on sedatives. The choice of Throughline narrows the playing field of a story. Without actually putting up walls, choosing a Throughline shifts the focus of audience attention by establishing the center around which broad scale dynamics will revolve. The Dramatica engine is calibrated to this center.

To illustrate the differences between throughline classes, let's consider how different story concepts might be illustrated in each of the four perspectives:

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	Dramatica Pro - $179.95 Unlike any other story development product, Dramatica Pro uses a patented Story Engine to interactively help you build a structure, find and fix dramatic holes and inconsistencies. (Details)
	Dramatica Writer's DreamKit - $49.95 Little brother to Dramatica Pro, Writer's DreamKit is built around the same patented Story Engine - it just tracks fewer story points. So, you develop the same solid story structure, just with fewer details. Perfect for beginning writers or those new to Dramatica. (Details)
	12 Hour Writing Course on DVD - $19.95 This intense program features 12 hours of video documenting the entire college-level course in creative writing given by Melanie Anne Phillips, creator of StoryWeaver and co-creator of Dramatica. Just $19.95 (Details)
	Throughline - Interactive Index Cards - $9.95 Interactive index cards - Name them, add notes, titles, colors, click and drag to re-arrange, adjust font, save, export and print. An essential tool for every writer. (Details)

*Try either or both for 90 days. Not working for you? Return for a full refund of your purchase price!

Hi, I'm Melanie Anne Phillips, creator of StoryWeaver, co-creator of Dramatica and owner of Storymind.com. If you have a moment, I'd like to tell you about these two story development tools - what each is designed to do, how each works alone on a different part of story development and how they can be used together to cover the entire process from concept to completion of your novel or screenplay.

Dramatica is a tool to help you build a perfect story structure. StoryWeaver is a tool to help you build your story's world.

Dramatica focuses on the underlying logic of your story, making sure there are no holes or inconsistencies.

StoryWeaver focuses on the creative process, boosting your inspiration and guiding it to add depth, detail and passion to your story.

Dramatica has the world's only patented interactive Story Engine™ which cross-references your answers to questions about your dramatic intent, then finds any weaknesses in your structure and even suggests the best ways to strengthen them.

StoryWeaver uses a revolutionary new creative format as you follow more than 200 Story Cards™ step by step through the story development process. You'll design the people who'll inhabit your story's world, what happens to them, and what it all means.

By itself Dramatica appeals to structural writers who like to work out all the details of their stories logically before they write a word.

By itself, StoryWeaver appeals to intuitive writers who like to follow their Muse and develop their stories as they go.

But, the finished work of a structural writer can often lack passion, which is where StoryWeaver can help. And the finished work of an intuitive writer can often lack direction, which is where Dramatica can help.

So, while each kind of writer will find one program or the other the most initially appealing, both kinds of writers can benefit from both programs.

We have a 90 Day Return Policy here at Storymind. Try either or both of these products and if you aren't completely satisfied we'll cheerfully refund your purchase price.

9. Overall Story Throughline