The idea that the Protagonist is always the centerpiece of a well-told story is a fallacy. While this is most often the case in popular American cinema, there are literally thousands of complete and meaningful stories that can be created wherein the audience has no personal attachment to the one character driving things forward. Limiting oneself to an understanding that is easier to get leaves a writer open to creative suppression.

If you want to write a screenplay or story that appeals to a unique audience demographic, you must pay special close attention to the way that story is structured. Male and female audience members differ on the kinds of stories that appeal to them the most.

A look at what stories need to work through before they can be resolved.

A Story Limit is one of the most important things you can put into your story.

A look at the mechanism that forces a story towards its inevitable climax.

Using concepts found in the Dramatica theory of story to write a story with your audience in mind.

While weaving two stories into one piece can be done, it can lead to a fidgeting audience.

Dramatica helps to make sure that both your head and heart are in sync.

Why the story limit is so important.

And how to incorporate them into your story.

I can.

Story theory works when it is based on things that actually happen in the “real” world.

Dramatica can seem a bit overwhelming when you first start out. I remember flipping through the dictionary at the back of the theory book and thinking, “This is insane!” But after eight years of working with it, I’ve got the model pretty much memorized (at least down to the Variation level) and have a pretty good understanding of each of the terms.

A closer look at the Plot Dynamics in a story.