Premise and the Thematic Argument

One of the most familiar attempts to describe the nature of the thematic argument relies on a concept called the premise. A premise usually takes this form Some activity or character trait leads to a particular result or conclusion. An example of this would be Greed leads to Self-Destruction. a premise can be very useful in describing what a thematic argument is about in a nutshell, but provides very little information about how that argument will proceed. In regard to the example above, there...

Grand Argument Stories

The question arises Is telling a story better than telling a non-story No. Stories are not better than any other form of communication -- just different. To see this difference we need to define story so we can tell what a story is and what it is not. Herein lies a political problem. No matter how one defines story, there will be an author someplace who finds his favorite work has been defined out, and feels it is somehow diminished by not being classified as a story. Rather than risk the ire...

Grid of Dramatica Genres

Where What it is p Information Universe p an examination of events and situations with an emphasis on the past, present, progress, and future state of things e.g. Documentary, Historical and Period Pieces . How it works p Information Physics p an examination of how specific processes work with an emphasis on instruction e.g. Educational, Informational, Instructional . What it means p Information Mind p an examination of opinions and points of view with an emphasis on the context in which they...

Summary On Selecting Static Plot Appreciations

We have examined some of the considerations that go into selecting Static Plot Appreciations. Independent of any other dramatics, any Type might be selected for any of these appreciations. When additional structural appreciations are already chosen, however, one must consider their impact as well in making a selection. In Western culture, the Goal is most often found in the Objective Story Domain, however, it might be equally appropriate in any of the four Domains. In conjunction with the eight...

Archetypes Have Their Place

Archetypal Characters have their place, mind you. If an author's focus is on Plot or Theme, he may want to create easily identifiable Archetypes as a shorthand to save space and time. As soon as the edges of an Archetypal Character are sketched out, audiences who have seen these Archetypes time and again will fill in the rest, pending information to the contrary. In this way, an author can free up time or pages for aspects of the story which may be much more interesting to him. As a result,...

Archetypal Characters

Many episodic series rely on Archetypal Characters who can be counted on to respond in the same way from episode to episode. This caters to the strengths of television series with a loyal audience the ability to create friends and family on which one can rely. The first few episodes of a series usually bring in the Villain of the Week essentially a new Archetypal Antagonist each time while the Archetypal roles are becoming established for the regular cast and the mythic lore is being outlined....

Dramatica and Communication Theory

Exploring all avenues of communication is far beyond the scope of this initial implementation of the Dramatica Theory. To be sure, Dramatica as a model of the mind has much to offer in many diverse areas. However, for the practical purposes of this software product, we cannot cover that much ground. Rather, we will briefly touch on major perspectives in the author audience relationship that can also serve as templates for translation of the Grand Argument Story perspective into valuable tools...

History of Success

The Main Character came into the story with a tried and true method for dealing with the kind of problem featured in the story. That method has always worked for the Main Character before it has a long history. Suddenly, a situation arises where that standard approach doesn't work, perhaps for the first time ever. This marks the beginning of the story's argument. As the story develops, the Main Character tries everything to find a way to make it work anyway, holding out in the hope that the...

Principal Characters in Rear Window

If there is anything that can be seen as typical about a Hitchcock film it would be his forefront use of thematics. Rear Window is no exception. As with Gone With the Wind, the enjoyment of the story comes largely from what happens between the lines. But unlike GW7W, the characters in Rear Window are relatively complex. At first glance, it may seem that there are quite a few characters, what with the neighbors and all. There's the Composer, trying to sell his first hit song. There's Miss Lonely...

Functions of Dynamic Pairs

We can easily see how these Archetypal pairs represent a broad analogy to a human mind dealing with a problem. The Protagonist represents the desire to work at resolving the problem. Its Dynamic Pair, the Antagonist represents the desire to let the problem grow. As with the Archetypal Characters, we all face an internal battle between making decisions based upon Reason or upon Emotion. Like the functions of the Sidekick and Skeptic, the Story Mind will contain a struggle between Faith and...

Uniqueness Means Never Having to Say I Agree

As we are driven by life experiences and since the experiences of each of us are unique, it is no wonder we come into conflict and confrontation over most everything we can think of. Stories are about the incompatibility of two life experiences as they relate to the best way to resolve an inequity. If a character stands by his life experience, then it stands to reason his approach served him well in other scenarios. Similarly, his counterpart has had different life experiences that served him...

Protagonist Guardian Contagonist Antagonist

In simple stories, the Protagonist, Antagonist, Guardian, and Contagonist are all major drivers of the story. Whatever the object of their efforts, Protagonist will be trying to achieve it, Antagonist will be trying to prevent its achievement, Guardian will act to aid the achievement, and Contagonist will act to hinder although Guardian and Contagonist may not be directly concerned with the goal itself or even each other . Regardless of their personal levels of awareness, each of these...

More Resolution

Dramatica Chart

So far, we have been able to roughly determine that a problem might be an external or internal state or process, represented by the four Classes. Already we can get a more refined view of the problem we will be describing in our story. We need only consider which of these four Classes best describes the problem about which we want to write. For example, if we have an idea for a story about people trapped underwater in a sunken ship, that would be an external problem, best described as a state...