By far, this was the funniest Google search term someone used to find this site. In an effort to provide more of what people are looking for when they come here, I installed a statistics program called Mint a couple of weeks ago. Alongside the countless searches for “children of men analysis” (people seem to really like that film!), this quote - “the cult of Dramatica” really stood out. How can a theory of story be so easily equated with the kind of fervor that sometimes accompanies religion?
Entries from May 2007
The Cult of Dramatica
May 9th, 2007 · 6 Comments
Filed under: Story Theory
Laura: The Obvious Midpoint in a Screenplay
May 7th, 2007 · No Comments
Most screenplays take a turn for the worst at around page 60…and no, I’m not referring to the quality of writing! Rather, this is the time when things go really sour for the principal characters. Often referred to as the midpoint of a story, this moment can either be really obvious or really subtle, depending on the author’s preference and the structure of the story. Dramatica has little to say about the former, but much to say about the latter.
Filed under: Analysis
Laura: How to Fix an Impersonal Main Character
May 3rd, 2007 · 3 Comments
Holes in a story can be difficult to pinpoint and even more difficult to properly “fix.” Laura, the film noir classic from Otto Preminger, suffers from a cold and impersonal Main Character. As a result, the audience has a hard time finding some sort of personal connection with the story. Luckily, the Dramatica theory of story provides some insight on why this is, and suggests a way to fix it.
Filed under: Analysis
Laura: Analysis of the Film Noir Classic
May 2nd, 2007 · 1 Comment
Lies and deceit abound in Otto Preminger’s film noir classic, Laura. Detective Mark McPherson arrives on the scene of a high-class murder to find a multitude of suspects - each obsessed with one thing and one thing only - the now deceased Laura. It’s a desire that McPherson comes to learn all too well…
Filed under: Analysis
