After twenty years of working with Dramatica, I can say with some certainty that the best part of the experience has been the introduction to stories I never would have encountered on my own.
A brief overview of the 300+ films, novels and plays listed on the Dramatica site as having a storyform reveals some of the worlds greatest narratives. Besides older classics like Hamlet and Romeo and Juliet and To Kill A Mockingbird, one finds more modern classics like The Godfather, Taxi Driver, Amadeus and The Shawshank Redemption.
But the real discoveries--the gens that I will always be thankful for are the rare and more independent minded fare; those films that fly under the radar and more often than not escape our detection during their initial run. Amazing foreign films like Amélie and The Counterfeiters and my two ultimate personal favorites: A Separation and The Lives of Others. It would not be an exaggeration to suggest that without the influence of Dramatica I would have completely missed these masterpieces of cinema.
And for that I will always be eternally grateful to Chris and Melanie for taking the time to piece together this theory of narrative and provide an answer as to why some films persist while others only fade away.
The key rests in each story masterfully portraying the four major Throughlines. As perspectives on the story's central conflict--the Main Character, Influence Character, Relationship Story and verall Story Throughlines grant a feeling of completeness while insuring the satisfaction of well-engineered and well-considered plot. The interconnectedness of these Throughlines help to maintain consistency within the story's thematics and offer a clear and powerful point of view from Author to Audience.
The worst that can come from an encounter with Dramatica is exposure to these and many other great works of art. For fans of great stories and timeless narratives, the theory offers a reason in and a reason why.