The Dramatica theory of story was a revolution in the field of narrative science. Introduced in 1994, Dramatica inspired countless Authors across all mediums. From novels to feature films, television shows to interactive games, the concepts of narrative structure found within the theory changed the landscape of storytelling forever.
The second revolution began last week.
Melanie Anne Phillips, co-creator of the Dramatica theory of story, posted a new breakthrough she discovered—
—while in the shower:
But today, something has happened for which there is no precedent: I have discovered a new part of the theory equal to all that has been previously documented and emanating side by side from the very top.
The current model of Dramatica is steeped in the spatial considerations of narrative, the bits and pieces of story.
This new development classifies the temporal aspects narrative, the flow and duration and relativistic time present when our minds process inequities.
When they seek to tell a story.
One magnitude of time is observable (constant) and the other is beneath the level of our observation (stretchy). That replicates the relationship of macroscopic and microscopic narrative argument components that defines the fractal nature of narrative described above in relation to the Grand Argument Story.
That “fractal nature of narrative” she references is found in the current spatial model, visualized in the Table of Story Elements.
THAT is what a temporal fractal is – a flow of time that appears to be constant (objective reality) and an actual flow that goes faster and slower for each individual compared to all the others (subjective reality).
It is intriguing to consider that the person just a few feet away from you is aging at a different rate than you are because you are not rotating around the earth at the same speed.
And that is how revolutions in narrative theory begin—
—in the shower.
I propose we all pitch in and pay for Melanie’s water bill—so she can stay in there longer. 😆