By Melanie Anne Phillips, Chris Huntley
I've got either the e-book and the software program. The terminology during this concept is usually tricky, since it redefines sure phrases we use regularly to serve its personal reasons. for instance, Dramatica refers to "dynamic pairs" of tale parts. a few of them are effortless adequate to know: Order/Chaos, Help/Hinder, and so forth. yet the various dymanic pairs are more challenging to get, e.g. Possibility/Certainty (one may have anticipated Possibility/Impossibility). but when you place the time into this, the payoff is enormous.
I imagine the main precious a part of the software program is the massive variety of questions it poses to you approximately your characters, events, relationships. As I went during the questions relating to my major characters, i spotted time and again "Hm, I by no means thought of that..." So neither the idea nor the software program are offering solutions, simply plenty and plenty of questions that you simply, because the writer, are liable for with the ability to solution. whether these solutions do not make it at once into your ultimate draft, having these solutions will certainly colour your tackle the best way your characters have interaction with one another and their environment.
The software program itself is an obsessive-compulsive's dream, i need to say, and particularly your first time utilizing it you could end up fidgeting with it ceaselessly (like me). however the characters in my tale have still blossomed into "real humans" for me in a manner i have not skilled sooner than.
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Extra info for Dramatica: A New Theory of Story
It is interesting to note the Character pairings designed into this story. Scarlett (Pursue and Consideration) is paired with Rhett (Avoid and Reconsideration). Ashley (Temptation and Hinder) is paired with Melanie (Conscience and Help). Obviously, Margaret Mitchell had an amazingly intuitive sense of where the dramatic potentials lie. ) Let's see if this pattern continues. Frank Kennedy, Suellen O'Hara, Gerald O'Hara, and Prissy Scarlett's screaming sister Suellen plays nicely as FEELING and UNCONTROLLED, making her the Emotion Character.
Rather than seeing how the events of a story relate to one another, we become more concerned with how events effect us personally. Providing this experience is the purpose of the Main Character. The Main Character: One of a Kind There is only one Main Character in a story. Why is this? Because each complete story is a model of the Story Mind which reflects our own minds, and in our minds we can only be one person at a time. At any given moment, we have a position in our own thoughts. Our state of mind in regard to a particular problem reflects the biases of the position on which we stand.
Kept at the margins of the Objective Story dealings with the problem of inequity, Scout however comes to see her prejudice against Boo Radley as being every bit as wrong. Chapter 11 Problem Solving and Justification Deep Theory: The following section delves deeply into the inner workings of a Main Character and how that character grows over the course of a story. The material covered will address the following questions: How does a Main Character come to have a particular problem? How does that problem come to relate to the Objective Story as well?
Dramatica: A New Theory of Story by Melanie Anne Phillips, Chris Huntley