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DRAMATICA:
A NEW THEORY OF STORY

Developed and Written by
Melanie Anne Phillips & Chris Huntley

SPECIAL ON-LINE EDITION.


TABLE OF CONTENTS


In support of the on-line writing community, Screenplay Systems Incorporated is providing this special on-line edition of the 450 page book, DRAMATICA: A NEW THEORY OF STORY.


Dramatica:
A New Theory Of Story

How This Book Is Arranged


I. Dramatica & the Creative Writer


SECTION 1:
THE ELEMENTS OF STRUCTURE



II. Foundations: Central Concepts

  • The Story Mind
  • The Four Throughlines

Character

III. Introduction to Characters

  • Hero is a Four Letter Word
  • Objective and Subjective Characters

IV. Introduction to Archetypes

  • The Eight Archetypes
  • Complex Characters

V. Objective Character Functions

  • Drivers and Passengers
  • Examples from Star Wars, Wizard of Oz, and Jaws

VI. Action and Decision Elements of Drivers and Passengers

  • Recap of Archetypal Characters
  • Archetypal Actions and Decision Characteristics
  • Archetypal Motivation Quads Examples from Star Wars, Wizard of Oz, and Jaws

VII. Placing Motivation Elements into Quads

  • Grouping the 16 Motivation Elements
  • Examples from Star Wars, Wizard of Oz and Jaws

VIII. Complex Motivation Characteristics

  • Rules for Building Characters
  • A Look at Complex Characters in Gone With The Wind and Rear Window

IX. Exploring Other Character Dimensions

  • The 64 Character Elements Chart
  • Mapping the Archetypal Pattern
  • Examining Archetypal Methodologies
  • Complex Character Dimensional Patterns

X. Subjective Characters

  • Defining the Main and Obstacle Character
  • The Main and Obstacle Character in the Objective Story
  • The Main Character's Crucial Element

XI. Problem Solving and Justification

  • What are Justifications?
  • Whait is Problem Solving?
  • Why we Justify
  • A Simple Example of Problem Solving
  • Defining the Problem
  • The Justified Main Character

Theme

XII. Elements of Structure: Theme

  • Describing the Story's Problem
  • Chart of Dramatica Classes
  • Domains
  • Chart of Dramatica Types
  • Concerns
  • Chart of Dramatica Variations
  • Ranges
  • Chart of Dramatica Elements
  • Problems

XIII. Domain Descriptions

  • Matching Points of View to the Chart
  • Objective Story Domain
  • Main Character Domain
  • Obstacle Character Domain
  • Subjective Story Domain

XIV. Concern, Ranges and Problems

  • Domains and Beyond
  • Concerns
  • Ranges
  • Problems

XV. Deep Theme Theory

  • The Thematic Argument
  • Premise and the Thematic Argument
  • Additional Appreciations

Plot

XVI. Elements of Structure: Plot

  • Plot vs. Storyweaving

XVII. Plot Appreciations

  • Goal
  • Requirements
  • Consequences
  • Forewarnings
  • Dividends
  • Costs
  • Prerequisites
  • Preconditions

XVIII. Plot Progression

  • Acts (Another View: 3 Act Progressions)
  • Sequences (Three Act Progressions & Four Act Progressions)
  • Scenes (What's in a Scene? & Characters in Scenes)
  • Events (Events and Domains & Events Masquerading as Scenes)

Genre

XIX. Elements of Structure: Genre

  • Modes of Expression
  • Grid of Dramatica Genres



SECTION TWO:
THE ART OF STORYTELLING

XX. SECTION TWO: The Art of Storytelling

  • Foundations
  • The Four Stages of Communication

Stage 1: Storyforming

  • Introduction to Storyforming
  • Inspiration
  • Structure
  • Communication

XXI. Storytelling and Character Dynamics

  • Resolve: Change or Steadfast?
  • Direction: Stop or Start?
  • Approach: Do-er or Be-er?
  • Mental Sex: Male of Female?

XXII. Storytelling and Plot Dynamics

  • Work: Action or Decision?
  • Limit: Timelock or Optionlock?
  • Outcome: Success or Failure?
  • Judgemnt: Good or Bad?

XXIII. Storytelling and Storyforming Structural Appreciations

  • Selecting the Domains in Your Story
  • Picking the Proper Classes for the Domains in Your Story

XXIV. Storytelling and Plot Appreciations

  • Static Plot Appreciations
  • Progressive Plot Appreciations
  • Acts

XXV. Storytelling and Thematic and Character Appreciations

  • Change Characters and the Crucial Element
  • Steadfast Characters and the Crucial Element

Stage 2: Storyencoding

XXVI. Introduction to Story Encoding

XXVII. Encoding Objective Characters

  • Archetypal Characters
  • Complex Characters

XXVIII. Encoding Subjective Characters

  • The Main Character is not necessarily the Protagonist
  • Encoding Mental Sex

XXIX. Encoding Theme

  • Encoding the Objective Story Theme
  • Encoding Theme for the Other Throughlines

XXX. Encoding Plot

  • Encoding Progressive Plot Appreciations
  • Signposts and Journeys
  • Main Character Domain Plot Progression
  • Obstacle Character Domain Plot Progression
  • Subjective Story Domain Plot Progression

XXXI. Encoding Genre

  • Medium & Format

Stage 3: Storyweaving

XXXII. Introduction to Storyweaving

XXXIII. Storyweaving and Structure

  • Storyweaving Static Appreciations
  • Storyweaving Characters


XXXIV. Storyweaving and Storytelling

Spatial Techniques

  • Building Size
  • Red Herring
  • Meaning Reversal
  • Message Reversals

Temporal Techniques

  • Building Importance
  • Non-Causality
  • Out of Sequence Experiences
  • Flashbacks and Flash-forwards


XXXV. Storyweaving Tips

Tips for Short Stories
Tips for Episodic Television Series

  • Characters in Episodic Series
  • Plot in Episodic Series
  • Theme in Episodic Series
  • Genre in Episodic Series

Tips for Multi-Story Ensemble Series and Soap Operas
Tips for Novels
Tips for Motion Pictures

  • The Rule of Threes
  • Hand-offs

Stage 4: Story Reception

XXXVI. About the Audience

  • Writing for oneself
  • The Author as Main Character
  • Writing for Groups

XXXVII. A Quick Lesson In Propaganda
XXXVIII. Adaptation



How to Order Dramatica: A New Theory of Story


The Dramatica Theory was developed by Melanie Anne Phillips and Chris Huntley and was not researched nor based upon any other theories of story design or analysis.


The Dramatica Theory was developed by Melanie Anne Phillips and Chris Huntley and was not researched nor based upon any other theories of story design or analysis.


COPYRIGHT NOTICE:


Copyright 1993, 1994, 1995 by Screenplay Systems Incorporated. ALL RIGHTS RESERVED. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any human or computer language, in any form or by any means whatsoever, without the express written permission of Screenplay Systems Incorporated, 150 East Olive Avenue, Suite 203, Burbank California 91502, United States of America. Phone: (818) 843-6557. Internet Electronic Mail Address: DRAMATICA@SCREENPLAY.COM


TRADEMARKS:


Dramatica is a trademark of Screenplay Systems Incorporated. Scriptor and Screenplay Systems are trademarks of Screenplay Systems Incorporated.


Back to the Dramatica Home Page

Copyright©1996 Screenplay Systems.

The Dramatica theory was developed by 
Melanie Anne Phillips
and Chris Huntley
Chief Architect of the Dramatica software is Stephen Greenfield
Dramatica
is a registered trademark of Screenplay Systems Incorporated

 


 

 

 

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Index of Dramatica Theory Materials

Storymind.com is pleased to present this collection of materials about the Dramatica Theory of Story. We hope you find it both useful and through-provoking.

This information is divided into three sections:

The Dramatica Theory
A complete exploration of the theory in every detail

Historic Documents
The development of Dramatica from the beginning

Speculations
Dramatica applied to psychology, physics, religion and more

The Dramatica Theory

Dramatica Theory Book Online
Free online edition of the 400+ page book, Dramatica: A New theory of Story, in which Melanie Anne Phillips & Chris Huntley originally documented their work.

Dramatica Dictionary
Official definitions of all terms in the Dramatica theory and software.

Dramatica Writing Tips
Useful and informative articles on how to approach and employ both the Dramatica Theory and Software.

Constructive Criticisms
Practical illustrations of how applying the Dramatica theory could have made some well-known successful story's even better!

Dramatica Q & A
Answers to questions from users of the Dramatica Theory and Software.

Instant Dramatica
Even more directly practical essays on using Dramatica for real-world writing situations and problems provided by noted screenwriter Armando Saldaña Mora.

Historic Documents

Dramatica - The Lost Theory Book
Early attempts to document the theory, including many unfinished conjectures and false starts.

Dramatica Development Archives
Early documents created during the development of the foundations of Dramatica.  Often later discarded, they show the roots of the thinking that ultimately evolved into the theory as it stands today.

Speculations

Deep Theory
Transcript of a class on the outer fringes of Dramatica Theory I taught as part of a now-defunct Dramatica Certification course.

Dramatica Math
A mathematician takes a stab at describing the Dramatica model in terms of dimensional distortions.

Mental Relativity
An exploration of the theory of psychology modeling which grew out of the development of Dramatica.

Dramatica I Ching
Several of our users have noticed a similarity between the character grid in Dramatica and the elements of the traditional I Ching.  Though unintentional, perhaps all models that look deeply into the mind will resemble each other.

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