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The Latest in Story Structure & Story Analysis

5 days ago

Throughline Thursdays is back!

After an extremely long hiatus, the ever popular Narrative First feature returns to give writers and producers of narrative fiction everywhere greater insight into how conflict in a great story works.

The key to the diagram below is this: When identifying the source of conflict in a complete story, only one arrangement works across all Four Throughlines. You can always find elements of each Domain in every Throughline, but there were only be one Domain for a Throughline that resonates with the other three Throughlines.

At times it may seem as if we shoehorn stories into different boxes in order to somehow prove Dramatica right. You may sense hints of confirmation bias in our analyses or in our articles on story structure & story theory. Nothing could be further from the truth.

Dramatica is a self-checking theory of story. In fact, the source of all frustration with the theory lies in the fact that it won’t let you get away with confirmation bias or caveats. You can try to shoehorn in a singular source of conflict or a problematic issue for a particular Throughline, but you won’t find that balance on the other side. In short, when you can easily find examples of conflict for all Throughlines at once, the entire hologram of narrative dynamics for that story will click into place.

Developing that sense of story is the foundation for a life of great writing.

The Four Throughlines of a Complete Story

As a reminder—or brief introduction if you are new to Dramatica—the Four Throughlines provide an Audience different perspectives on the central inequity of a story:

As you start to identify the source of conflict in each of these Throughlines, two rules exist:

  • The Main Character & Influence Character Throughlines sit diagonally across from each other
  • The Relationship Story & Overall Story Throughlines sit diagonally across from each other

The explanation why one must adhere to these rules lies in the development of the Dramatica itself. In addition to the fractal nature of model, Dramatica places emphasis on dynamic opposites as the greatest opportunity for conflict within a story. This is why you will find Pursuit diagonally across from Avoid, Faith diagonally across from Disbelief, and Conscience diagonally across from Temptation. Put those two elements in a room or scene together and watch the sparks fly.

Same with the Main Character & Influence Character and the Overall Story and Relationship Story. Conceptually, the latter might be more difficult to comprehend but the dynamic between the two remains. Consider Arrival below: the relationship between Louise and the aliens directly impacts the Overall Story of trying to understand these creatures and vice versa.

The Only Arrangement of Conflict that Works

In Arrival, linguist Louise Banks (Amy Adams) struggles with painful memories of her daughter. Her “flashbacks” bring us into the story by offering the personal, intimate perspective found in the Main Character Throughline. As Audience members we grow with Louise and overcome our own Fixed Attitudes regarding time and our mind’s ability to deceive.

Challenging the linguist to think differently, the Hectapod’s concerns meet with Louise’s concerns to form the foundation of the Relationship Story Throughline. The endeavor to manipulate how she thinks pulls the two closer and closer together until there exists a deeply felt sadness at the loss of one of the aliens.

The Four Throughlines of *Arrival*

The Hectapods find themselves in a difficult Situation: if Earth doesn’t get it’s act together in the past, there will be no future for the Hectapods. Their ability to cross space and time to deliver an enigmatic message fulfills the Influence Character Throughline’s purpose of impacting Louise to adopt a different approach.

And only by adopting a different approach herself, can Louise finally offer the key to resolve the Overall Story Throughline that finds Earth on the brink of all-out war. Communicating with aliens, leaking information, dissolving alliances, and committing treason define problems of Activities.

As you can see, arranging the Four Throughlines to cover these four sources of conflict feels right. You might be able to find instances of Louise struggling with her Situation of being alone, but would you be able to find issues of Fixed Attitudes in the Hectapods? They don’t impact Louise’s Situation, they impact and challenge her Attitude.

Likewise, you can find instances where the Hectapods manipulate characters other than Louise, but then can you find examples of just Louise and the Hectapods trying to understand one another? Not really—that struggle exists for everyone in the story and therefore belongs in the Overall Story Throughline.

Great Stories

More Story Structure & Story Analysis

6 days ago

The Most Boring Storyform in the Entire World

In this episode we cover the world’s most familiar—and therefore, drabbest and dreariest—story structure. A popular message out of America in the mid to late 20th century, this storyform speaks of the essence what it is to be Male and focused on achievement.

Show Notes & Links

The Dramatica Mentorship Program - our premiere service designed to give you the tools and techniques for applying Dramatica’s powerful concepts to your stories.

Narrative First theme by Alex Hull. Hear more on his Soundcloud, Operation Solace

2 weeks ago

We just uploaded the Dramatica storyforms for Arrival and The Yellow Birds to our Storyforms section here at Narrative First—and boy oh boy, were we delightfully surprised.

The storyform we published for our initial analysis of Arrival called for an Influence Character Unique Ability of Prediction and an Influence Character Critical Flaw of Suspicion. If there were ever two more descriptive words of the Alien Heptapods influence over the actual story of Arrival, those two would be them.

The Influence Character Throughline for *Arrival*

The Influence Character Unique Ability is the one thing that makes the Influence Character able to uniquely challenge and impact the Main Character to change his or her way of approaching problems. Unbridled by time, the Aliens come from the future and are uniquely able to predict the future for Louise…Prediction, therefore, is a wonderful indicator of this ability.

The Influence Character Critical Flaw is the one thing that weakens or lessens the impact the Influence Character has over the Main Character. Clearly, their silence and enigmatic ways make the Aliens suspicious of nefarious and underhanded schemes…Suspicion, therefore, makes sense as the kind of thing that would dampen their ability to inspire Louise to change her way of thinking.

When we set out to do an analysis of a film, we often find ourselves away from our computer—at least, one with Dramatica Story Expert installed. We wrote our analysis of Arrival during a story meeting and finished it up afterwards in a nearby coffee shop. Finding out after the fact that the selections we made implied these two very important story points only confirms that the choices we made were accurate.

This is the best part about a holistic approach to story structure—error checking inherent to the system. If one part of the understanding fails, the entire thing falls apart. If, on the other hand, all the parts “sing” then you know you found the most accurate definition of the story’s dynamics.

Note that the Downloadable Storyforms section of Narrative First is a Members Only feature—a service provided for those patrons of our work into story structure & story analysis. If you’re interested in learning more about how you can become a member, please visit the Narrative First Membership page.

2 weeks ago

Dramatica co-creator Melanie Anne Phillips prepends a forward to one of her many insightful articles in this post on Protagonist v Antagonist | Dramaticapedia:

Now in reading this through today, I realize that doesn’t sound much like the way most writers go about creating their characters.  In fact, the usual approach is to start with a protagonist and antagonist in mind, then populate the story with supporting characters to fill out the conflicts and the logistics of the battle over the goal.

This is, in fact, the approach I instinctively take and the one I follow when working with other writers. To me, the Protagonist and Antagonist of a story stand out as the most easily identifiable character in a story. One is for the Story Goal; the other works to prevent it.

Of course, identifying the Goal of a story is not always easy and different techniques exist to navigate this process. But Melanie explains it in a way that is both simple and complex at the same time:

In our own minds, we survey our environment and consider whether or not we could improve things by taking action to change them. The struggle between the Protagonist and Antagonist represents this inner argument: is it better to leave things the way they are or to try and rearrange them?

The Protagonist represents Initiative; the Antagonist Reticence. Follow that and your story finds purpose.

Mar 1

The Best Picture of 2016 Doesn't Have a Story

Welcome back!

In this, our first episode of the second season of the Narrative First Podcast, we catch up on all things story structure & story analysis including a look into the Oscar winner for Best Picture in 2016. Tons of links and articles and blog posts from the past three months for you to review. In fact, too many to summarize in this short paragraph. Best to scroll down to the Show Notes and follow along while you listen.

If you have any questions or would like help structuring your story with Dramatica please contact us at

Show Notes & Links

Narrative First theme by Alex Hull. Hear more on his Soundcloud, Operation Solace

Feb 28

Disney’s animated television show Tangled: The Series premieres in three weeks! On March 24, 2017 you’ll finally be able to see the further adventures of Rapunzel and Flynn Rider as they deal with a strange new force invading their kingdom.

While the character design looks appealing and the voice talent top-notch, the real reason why you want to tune in is because of the storyform. Who cares about rolling landscapes and engaging animation when you can focus in on all the complex thematic issues tumbling around in this show.

Story Consultant Credit for *Tangled: The Series*

And it’s not only this first episode, but several years worth of episodes!

Holding It All Together

Hinted at before, Narrative First acted as Story Consultant for the series. In the article Outlining a Television Series With Dramatica , we described the process of using this fascinating and insightful theory of story to outline the events of a series:

you create one master Storyform for the “Mythology” of your series, and then individual Storyforms for the “Monster” episodes. Anytime you want a certain context to feel complete, you should create a storyform. If you want each season finale of your series to have the same kind of impact the finales of Game of Thrones have had, you should even go so far as to create a single storyform for each season.

Tune in to this week’s podcast for a more detailed explanation as to how the storyform played a role in developing this show.

What is a storyform again?

The Dramatica storyform is a collection of seventy-five different storypoints that work in tandem to create a holistic image of a story’s deep underlying meaning. When a narrative shows signs of “holes” or underdeveloped characters, chances are the storyform is broken—or missing key parts. Working as an analogy to the mind’s problem-solving process, the Dramatica storyform codifies the Author’s message and gives purpose to their work.

A Place to Begin

The best part about this process is that it still allows the individual writers to breathe to life their own unique take on the story. The storyform is rigid yet flexible enough to allow the artist to branch off and follow his or her own muse. Anytime they get too far off track, the storyform gently reminds and corrals the narrative back into place.

Make sure you mark the show down on your calendar. Rest assured, if you do forget, we will definitely be reminding you the closer we get to the date.

Feb 27

At least, not a storyform.

As detailed in our Dramatica analysis of Moonlight , the film lacks the necessary components to make a convincing argument. However, as the events of last night would seem to affirm, “Truth” reveals itself in many different ways.

Creating our own prison

To say there is “no story”—on this site, and in story meetings and lunch with fellow writers—means there is a sense that something is missing; some greater truth.

The Dramatica theory of story is the first understanding of narrative to delineate and make concrete this greater truth. For hundreds and hundreds and thousands of years, writers have used elements of character, plot, theme, and genre as analogies towards a single human mind trying to resolve a problem. Many didn’t realize they were doing it; they simply wrote what they thought was a great story—one that made sense and felt right.

That greater truth or message they hoped to communicate found itself material in the storyform. Balancing out thematic issues and plot concerns with elements of character that in service of a singular purpose, the storyform makes telepathy between writer and reader a reality. The stronger the storyform, the greater the capability of effectively transmitting that message.

Other truths exist.

As Moonlight so eloquently shows, the lack of a complete narrative invites greater acceptance and more opportunities for Audience empathy. With several Throughlines missing or incomplete, the viewer fills in the blanks and takes ownership of the story.

Consider Thelma and Louise. We learn nothing of what happened to Louise in Texas; only that it is enough to motivate her to engage in dangerous and violent action. Without that knowledge each and every audience member supplies his or her own experience and by doing so, becomes a part of the narrative.

Moonlight won not only because it was a fantastic and moving work of art, but also because it invited the audience to bring their own individual understanding to the table. We fill in the blanks and see our own truth worked out across the screen.

Every mind craves meaning. If we can somehow reaffirm our own experience, our personal truths become universal. We celebrate the work as Best Picture, but really it is the Best Picture of ourselves.

Rid yourself of writer's block. Forever.

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