Inspiration and insight can come from anywhere. When it does, and when you can see something differently for the first time, you get so excited that you have to share it with someone. I had a breakthrough like this last weekend that had to do with the Main Character and the baggage he [...]

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In a conversation I had with Dramatica theory creator Chris Huntley last November, I asked him, “After 10 years of writing story analysis, what are the top 10 re-occurring problems you see in story today?” He gave me two.

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Authors can sometimes get sidetracked as they get sucked into the process of writing their story. A great idea often supercedes the story’s requirement of being consistent. In my review of Taladega Nights I point out some inconsistencies in the story that could’ve been averted with Dramatica.

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A simplistic way of looking at stories is either “plot-driven” or “character driven.” At first glance, Dramatica’s Story Driver may refer to these two concepts - an Action story seems to fit the “plot-driven” mode while a Decision story seems to fit the “character-driven” mode. But perhaps we can delve even further…

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Sure bets are hard to come by when it comes to screenwriting - even harder when you’re trying to analyze a story because everyone has their own opinion. But one thing that is for certain - if you’re writing a romantic story, the primary relationship is always about the two lovers. Isn’t it?

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Some people just don’t get French films. While on the surface many would attibute that to language barriers or xenophobia, there is something that is happening structurally that can account for the dislike.

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For the longest time, I have always been the type of writer who likes everything spelled out in advance - mostly with the help of Dramatica. But lately I’ve been reconsidering this approach.

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