Write your first draft with confidence.Learn More

149 articles.

  • Discovering the Story You Never KnewApril 28th
  • Finding Your True Self Through WritingApril 21st
  • Generating An Abundance Of Story IdeasApril 14th
  • Screenwriting With Outliner4D And Dramatica On A MacApril 7th
  • How To Write A Television SeriesMarch 29th
  • The Problem With Reverse-Engineering DramaticaMarch 4th
  • The Fault In Our Stars: An Anatomy Of An AnalysisDecember 17th
  • A Method For Generating ConflictDecember 8th
  • Dramatica's Definitions Are Not Your OwnDecember 4th
  • Dramatica And What It Means For StorySeptember 22nd
  • How An Inequity--And A Story--Is MadeSeptember 15th
  • The Actual and Apparent Nature of StoryJune 9th
  • A Collaborative Environment Unlike Any OtherMay 21st
  • Using Dramatica in the Real WorldMay 15th
  • The Fallacy of the Two HanderMay 1st
  • The Idea of the Script ConsultantApril 25th
  • All You Ever Needed to Know About DramaticaApril 17th
  • Outlining a Television Series with DramaticaApril 10th
  • Always Be ReadingApril 3rd
  • Outlining Screenplays with Dramatica and FountainMarch 27th
  • Screenwriting with FountainMarch 19th
  • Always Be WritingMarch 6th
  • Understanding Dramatica's Complex Terminology Made EasierOctober 16th
  • Don't Use Other Movies as ReferenceOctober 10th
  • The Secret Behind Great Character RelationshipsSeptember 11th
  • On the Need for Plot PointsAugust 28th
  • Dramatica Success: The Skeptic's Worst NightmareAugust 7th
  • Structure Is Not What Happens WhenJuly 31st
  • When Stories Feel Like Other StoriesJuly 24th
  • Expanding the PlaygroundJuly 9th
  • Finding Your Main CharacterJuly 3rd
  • The Main Character PlaygroundJune 26th
  • The Tragedy of James Bond the AntagonistJune 19th
  • The Crucial Element of Screenwriting in ActionJune 12th
  • On Dramatica's Extraordinary Sense of PerceptionJune 5th
  • The Schizophrenic Stories of Pixar's BraveMay 29th
  • The Wormhole Between Author and AudienceMay 22nd
  • The Mechanism of Story at WorkMay 15th
  • The Relationship Behind Every Great StoryMay 8th
  • Unraveling the Uselessness of the TropeMay 1st
  • Problems of Character Reflected in StoryApril 24th
  • A Blueprint for Effective Character DevelopmentApril 17th
  • The Problem with Problems of CharacterApril 10th
  • The Story Structure of True DetectiveApril 3rd
  • Bringing Gravity to GravityMarch 27th
  • Dumbing Down DramaticaMarch 20th
  • The Science of StorytellingMarch 13th
  • The Toy Story DilemmaMarch 6th
  • Tying the Towers of Story Structure TogetherJune 1st
  • A Separation: Predicting GreatnessMay 23rd
  • A Separation: Blueprint of a MasterpieceMay 20th
  • Screenwriting: Beating the OddsMay 10th
  • A Positive Spin on ProblemsMay 2nd
  • Story Consultants: The Snake-Oil Salesmen of ScreenwritingApril 26th
  • Directly Solving Problems IndirectlyApril 17th
  • Losing Sight of the Main CharacterApril 10th
  • Genius Doesn't Know GeniusApril 3rd
  • Why The Main Character's ApproachMarch 27th
  • Flipping PerspectivesMarch 20th
  • A Reason for RulesMarch 13th
  • The Scientific Study of StoryMarch 7th
  • Narrative Science and the Evolution of StorySeptember 13th
  • Starlight and Character ArcAugust 29th
  • Change Your Character Doesn’t NeedAugust 21st
  • Perfect Story StructureAugust 13th
  • Avoiding the False MomentAugust 6th
  • The Shawshank AnalysisJune 21st
  • The Goal of Every Story, The Goal of Every AuthorJune 10th
  • Rearranging the Broken PsychologyJune 4th
  • Uprooting the Fixed MindsetMay 24th
  • Overcoming Difficult SituationsMay 18th
  • Achieving Story Goals that are Not AchievementsMay 7th
  • Unlocking the Structural Code of the Story GoalApril 29th
  • The True Champion of ChinatownApril 19th
  • Why Theory MattersApril 14th
  • Protagonist and Antagonist: Beyond Hero and VillainApril 7th
  • Unraveling TangledMarch 26th
  • The Inciting Incident of Star WarsMarch 17th
  • Distrust the ProcessMarch 8th
  • Conflict of a Different NatureDecember 31st
  • Drawing the Audience InDecember 27th
  • Exotic Story Structure Often UnexploredDecember 23rd
  • Naturally Structuring a Story for ConflictDecember 18th
  • Not-So Familiar Patterns of Story StructureDecember 13th
  • Familiar Patterns of Story StructureDecember 8th
  • A Conflict Unlike Any OtherDecember 5th
  • The End of the Three-Act StructureNovember 12th
  • Chasing the ProtagonistOctober 27th
  • To Tell a Tale, To Craft a StorySeptember 17th
  • Blockbuster Films and the Main CharacterSeptember 7th
  • The Magic of the StoryformSeptember 3rd
  • Harry Potter and the Amulet of Story StructureAugust 14th
  • The Religion of Story StructureAugust 6th
  • Story Goals and Why They ExistJuly 31st
  • The Sound of Music: Making History MeaningfulJuly 17th
  • Female Main Characters Who Think Like Female Main CharactersJuly 7th
  • Black Swan and Star Wars: Cousins of Story StructureJune 30th
  • How to Figure Out Your Character’s ArcJune 23rd
  • The Difference Between Neo and Sarah ConnorJune 19th
  • Dysfunctional Families and Their StoriesJune 12th
  • Framing Devices and What They MeanJune 4th
  • Dramatica: Mad Libs or Madly Accurate?May 26th
  • Forget the Cat, Save Yourself!May 19th
  • Understanding the Arc of a Main CharacterMay 12th
  • The True Nature of the Inciting IncidentMay 5th
  • Triumphs of Tragedy: Black Swan and The WrestlerApril 29th
  • How to Fix HannaApril 22nd
  • Mildred PierceApril 15th
  • What Story Structure Is and Isn’tApril 8th
  • The Real Magic Behind Great StoriesApril 1st
  • Heroes That Aren’tMarch 24th
  • The Mechanics Behind Want Vs. NeedMarch 17th
  • Heroes Who Don’t ChangeMarch 11th
  • Learning Heroes vs. Teaching HeroesMarch 3rd
  • Writing a Screenplay with DramaticaNovember 30th
  • What It Means to FailNovember 23rd
  • When Failure Becomes a Good ThingNovember 16th
  • How to Train Your Inciting IncidentNovember 11th
  • Applying Pressure to the Main CharacterOctober 28th
  • What You’re Missing By Not Understanding DramaticaOctober 19th
  • The Delectable and Exquisite Themes of RatatouilleOctober 9th
  • Meaningful Storytelling: An Analysis of InceptionOctober 2nd
  • Sophisticated Story GoalsSeptember 26th
  • The Structure of a Short StorySeptember 17th
  • The Antagonists of InceptionSeptember 9th
  • Accurate Story Structure Ain’t EasySeptember 2nd
  • The Reason for ActsAugust 26th
  • Organizing Your Screenwriting Life with the iPhone and iPadAugust 18th
  • Four Acts, Not ThreeAugust 11th
  • Plot Points and the Inciting IncidentAugust 5th
  • The Illusion of ChangeJuly 29th
  • When Film Analysis Goes BadJuly 21st
  • The True Definition of a ProtagonistJuly 14th
  • Successful Short Story AdaptationsJuly 7th
  • Avoiding The False Moment Of CharacterJune 30th
  • The Handshake and the MachineJune 23rd
  • The Difference Between Neo and Luke SkywalkerJune 16th
  • Not Everything Is A Hero’s JourneyJune 9th
  • The Pacific vs. Band of BrothersJune 2nd
  • Avatar and the Broken Main CharacterMay 26th
  • Avatar and Star Wars: Spectacle Over SubstanceMay 19th
  • Dramatica: Story Theory for the 21st CenturyMay 12th
  • The MacGuffin Is A JokeMay 5th
  • You Don’t Know JackApril 28th
  • Up In The AirApril 21st
  • The Main Character's Central ProblemApril 14th
  • Narrative Drive and Weak ProtagonistsApril 7th
  • Redefining Protagonist and Main CharacterMarch 31st
  • Writing Complete StoriesDecember 13th