It is important to differentiate between solvable and unsolvable problems. The solvable problem is, simply, a problem, whereas an unsolvable problem is called a Dilemma. In stories, as in life, we cannot tell at the beginning whether a problem is solvable or not because we cannot know the future. Only by going through the process of problem solving can we discover if the problem can be solved at all.

This perfectly describes the simple purpose behind storytelling.

Publishers, it seems, are only interested in your stories if they come with a built-in audience. This is probably the same line of thinking that leads to executives to be more interested in sequels and comic books than original spec scripts. But perhaps there is a way to build up an audience for your project before you even attempt to look for a publisher/reader.

“These days, you need to deliver not just the manuscript but the audience,” says Mr. Levine. “More and more, the mantra in publishing is ‘Ask not what your publisher can do for you, ask what you can do for your publisher.’”

(via Unk)

Melanie explains, in very simple terms, the primary difference between the way a “male” mind works and a “female” mind works. Dramatica refers to this as Mental Sex and is an important concept to understand when trying to structure a complete story. The Mental Sex of your Main Character (regardless of gender) will determine the order things happen in your story.

One sees easily the arrangement of things, and works to figure out how things are going (paths). That’s seeing logic and figuring the emotions. The other sees emotions clearly, which give meaning, but need to work to see what the mechanism is. Again, its only an influence, and training can counteract it, though not eliminate it.