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StoryWeaver

$29.95

A step by step approach to story development, from concept to completed story for your novel or screenplay. More than 200 interactive Story Cards guide you through the entire process.

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Dramatica

$149.95

Dramatica Pro 4.0<br>Plus FREE Bonus!

The most powerful story structuring software available, Dramatica is driven by a patented "Story Engine" that cross-references your dramatic choices to ensure a perfect structure.

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Movie Magic Screenwriter

$149.95

Movie Magic Screenwriter<br>Plus FREE Bonus!

The most advanced screenwriting software available, Movie Magic is deemed a "preferred file format" by the Writer's Guild. An industry standard, MMS is used by professionals and studios around the world.

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Throughline 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.

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The Objective Throughline
is a Battlefield

by Armando Saldaña Mora

In a post called "Objective throughline" Kay asked:

"...I'm struggling to write a novel with the objective domain of mind. Do all the objective characters have to agree with the fixed attitude...?"


No, not at all. But all of them must be involved and have a point of view towards that fixed attitude.

You asked about the story of the crippled boy and the town that rejected him. The fixed attitude here was a reaction of disgust that was unavoidable for the town people, and that reaction troubled the boy and kept him locked inside his house. If that idea were to be developed, it would need some town people characters that struggle to stop that reaction, some that were in favor ("that boy is a product of evil!") and some that were troubled thinking which side to take.

If you're working with archetypal characters -- or doing the very recommended technique of developing a character as an archetype and then "swapping elements" in order to make her a complex character -- here are the basic views about the central issue of the objective throughline:

Protagonist: Is in favor or against that issue (or maybe isn't completely sure about his position) but he's leading all the actions for -- or against -- the issue.

Antagonist: Is diametrically opposed to the Protagonist (If the protagonist is in favor, he's against and viceversa) and he does anything in his power to stop all the actions the protagonist's leading.

Guardian: She tries to shed the light of conscience and show the "true way" about that issue.

Contagonist: He's tempting everyone out of his paths. And bringing other issues -or additional information about the same issue- just to confuse.

Sidekick: She supports one side completely. Be it the protagonist's or the antagonist's.

Skeptic: He doubts both sides. He's his own man.

Emotion: Basically has no reasons for or against the issue, but strong emotional conflict for or against it.

Reason: Analyses the issue in a dispassionate way. Takes a side as long as it's rational.

So, briefly, using your example of "The end justifies the means" in a story of, say, a nuclear power plant (the cheap energy justifies the nuclear waste) in which the protagonist is against that power plant:

The Protagonist tries to make everyone conscious of the dangers of the plant (the means).

The Antagonist tries to stop the protagonist campaign so the town keeps agreeing about the cheap energy (end) issue.

The Guardian agrees with the protagonist, since she has conscience about the dangers, but tries to make the protagonist seek better ways of making the people conscious.

The Contagonist tries to seduce the protagonist out of her quest (offers her a good public relations job at the plant), so he goes along with the "means justifies ends" issue.

The Sidekick supports the (let's say) Antagonist, (he's some kind of super loyal plant employee), he also goes along.

The Skeptic doesn't think the plant (means) is good, but doesn't want a raise on the electric bill either (end). He's against all.

Emotion supports the protagonist in this case (she's some kind of emotional hippie protester) but makes trouble at all protests.

Reason is a scientist researching about sun energy. The protagonist tries to support her efforts.

So, as you can see, you can play with your characters for or against the issue as much as you want. But, in order to have conflict, you must have at least one character disagreeing with the others.

  


$149.95                       $29.95          

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

About Dramatica and StoryWeaver

What They Do

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.

How They Do It

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.

How They Work Alone

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.

How They Work Together

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.

Try Either Program Risk Free!

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.

 
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