Can there be anything more dramatic than a story of revenge?! That initial stinging feeling of being unjustly wronged, the wicked and intensely private scheming that goes on as one plans what is dutifully owed the offender, and finally the execution of said sweet reward. Nothing is more universal than the satisfaction of one getting what one so rightly deserves.
But how does one go about constructing a story like this?
Filed under: Story Structure
You’ve heard it a million times and by now you’ve committed it to memory: screenplays are structure. It’s what brought you to this site and what you hope to learn more about. Clever dialogue, fancy locales, witty prose, all of it pales in importance when put up against the backbone of a truly great story.
Filed under: Writing
The Dramatica theory of story can have some pretty scary terminology. Prerequisities. Preconditions. Costs. Dividends. They sound more like advanced accounting terms than dramatic devices. Wouldn’t it be great if there was some easy chart to help you visualize how these terms relate to story?
Filed under: Story Structure
If Characters are the Motivations of a story, and Plot the Methodologies of a story, and Theme the Means of Evaluating a story, then how is Genre the Purpose of a story?
I asked this question of Chris Huntley, one of the co-creators of the theory of Dramatica, yesterday. How can Action/Adventure or Romantic Comedy be [...]
Filed under: Story Theory
So now on to the Plot Dynamics - the Driver, the Limit, the Outcome and the Judgment. The character dynamics explain how things are spatially related to one another, while the Plot dynamics explain how things are temporally related to one another.
So if you think about your story in the context of Time, the Driver [...]
Filed under: Story Theory
