Articles
In-depth posts on story structure & story analysis
Analysis
Insightful reviews through the lens of comprehensive story theory
Throughlines
Visual explanations of basic story structure principles
Podcasts
Conversational story structure with an ear for great storytelling
Blog
Daily updates & insights into the world of narrative
Vault
Early essays and accounts of a greater understanding of story
The productivity tool for storytellers. Avoid plotholes while writing more stories.
About
Our mission to tell a great story
Mentorship Program
Our flagship course in narrative theory
Story Guides
We'll help you through your next draft
Contact
Get in touch with experts in story
Existing customer? Log in
After twenty years in the animation industry and five more helping writers 1-on-1 develop their stories, one thing is clear--writers will do anything to avoid writing real conflict.
James Hull
Too many writers new to Dramatica and Subtext write the Influence Character Throughline as if the Main Character in their story.
Many paradigms of story structure look at stories and identify common patterns. The Dramatica theory of story runs against the grain by looking to the psychological concept first and then looking to published works for confirmation.
A recent discussion in the Discuss Dramatica forums illuminates the unfortunate consequence of a deductive mindset.
As a theory of story, Dramatica tends to attract scientists and mathematicians. With its claims of connections to General Relativity and its discovery of "Quad"-ronometry, many find themselves compelled to strike down any claims of viability.
The quest for perfect story structure often leads one to lean heavily upon scientific method. Deduction and definitions set stable ground for those uneasy beneath the umbrella of their own subjectivity.
The most challenging thing about writing a story is making choices. You can't write everything in your head and hope it all works out in the end.