the way a character grows in his attempt to solve his problems
Two parts to a Main Character's arc: the Main Character Resolve and the Main Character Growth. This is the second part, the part that has more to do with the process of arcing from where they are at the beginning of a story to where they are at the end. Main Characters will grow by either dropping an element or gaining a new one. If they drop, they are a
Stop character; if they gain, then they are a
Main Character Growth
Support now exists for writers looking to strengthen their story's thematic argument.
In order to unlock the thematic message locked deep inside a story, both Author and analyst must maintain an objective point-of-view.
Instead of relying on taste, Authors should look to what they have to work with in order to create the most delicious story.
Understanding the science behind narrative opens up the channels of communication between Author and Audience.
By understanding the structural and dynamic appreciations of narrative, the storytellers of today can be masters of their own destinies.
The key to really getting Dramatica is to understand that it is all about the narrative relationships the theory models.
Structure grants meaning and gives purpose to a complete story.
One is a Protagonist. The other is not.
All growth is not transformative; sometimes a character stands fast to their resolve in order to change the world around them.
But not every character should necessarily change--an idea that runs contrary to the prevailing wisdom in modern storytelling.
A simple way to look at the theory's eight essential dynamic story points of narrative.
In order to wind up the dramatic potential for a story, an Author must answer eight essential questions. In this episode, we cover the first two ingredients of an effective narrative.
In this episode we take a look at the Audience Appreciation known as Essence and search for a new way to define it that is easy to understand for writers new to Dramatica.
In this episode we explore the magic behind the Dramatica theory of story and why it worked wonders for the first Star Trek reboot in 2009...so why didn't they use it again for Star Trek:Beyond?
While short and sweet, the narrative still functions as a complete story.
Dramatica is a relativistic model. Understand that and you will understand most of Dramatica.
Change Characters see their problems as being inside themselves. Steadfast Characters see their problems as being outside themselves. Sometimes a problem is created by too much of something, other times by too little. Growth describes whether a problem is "too much" of something, or "too little." It appears differently depending on if the Main Character Changes or Remains Steadfast. If a character must change, he has one of these two kinds of problems. Either he is bullheaded in sticking with an inappropriate approach or he simply doesn't use an approach that would be appropriate. In the "too much" scenario, the character comes off as aggressively obstinate. In the "too little" scenario the character comes off as stubbornly ignorant. The "too much" Change Character needs to "stop." The "too little" Change Character needs to "start." If the Main Character remains Steadfast, though, then the kinds of problems they'll face will involve either holding out for something to Start or holding out for something to Stop. Metaphorically, the Steadfast Character is either a storm trying to weather away an island, or an island trying to hold out against a storm. Both Change and Steadfast Characters grow in a direction which can be called "Start" or "Stop."