the author's assessment of whether or not the Main Character has resolved his personal problem
The Audience wants to know the emotional state of the Main Character at the end of the story. Were the events of the narrative worth it, or are they still troubled and angst-ridden about their personal baggage? Theoretically speaking this story point reflects the emotional state of the narrative as a whole--meaning, does the Author feel like the efforts to solve the problem were a
Good thing or a
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.
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.
Create a framework of narrative around the events in your life and transform the inconsequential into something truly meaningful.
Turning the events of our lives into meaningful narrative requires an understanding of how our minds operate.
These two disparate films share common thematic elements—and it has nothing to do with the Hero's Journey.
One is a Protagonist. The other is not.
Sometimes, the efforts to resolve a situation would only make matters worse.
Peaceful resolutions come in many different ways, regardless of how reprehensible.
The combination of a successful outcome with an unresolved emotional state creates this bittersweet narrative.
The combination of a failed outcome with a sense of peace creates this bittersweet narrative.
Mix the failure to achieve the Story Goal with the Main Character overcome by their own personal angst and you have all the makings of a Tragedy.
Combine the results of the efforts to achieve the Story Goal with an emotional assesment of that outcome and you have yourself a meaningful ending.
A simple way to look at the theory's eight essential dynamic story points of 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.
What's more exciting...Narrative First hiring its first employees, or a real world example of the Dramatica theory of story actually predicting the future?! You decide...
Following up last week's conversation regarding what it takes to transform real life into an actual story, we now take time out to cover the first steps you want to take when building that narrative.
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?
Figure out how the conflict feels to the Main Character and you'll find the structure of the narrative.
A collection of clips showing the different meaningful endings an Author can portray simply by combining how things turned out with how they feel about how things turned out.
The notion that the good guys win and the bad guys lose is not always true. In stories, as in life, we often see very bad people doing very well for themselves (if not for others). And even more often we see very good people striking out. If we only judged things by success and failure, it wouldn't matter if the outcome was good or bad as long as it was accomplished. The choice of Good or Bad places the author's moralistic judgment on the value of the Main Character's success or failure in resolving his personal problems. It is an opportunity not only to address good guys that win and bad guys that fail, as well as good guys that fail and the bad guys that win, but to comment on the success or failure of their growth as human beings.