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            Throughlines

              December 8th, 2011

              Personal Baggage and the Main Character

              Early essays and accounts of a greater understanding of story.

              Main Character Throughline and Protagonist

              October 25th, 2011

              Ain't It Cool's Sneak Peek of Pixar's Brave Displays More Ignorance

              Early essays and accounts of a greater understanding of story.

              Main Character and Protagonist

              March 31st, 2011

              Why Gross Generalizations in Screenwriting Don't Work

              Greater specificity in how we look at story results in a greater understanding of how narrative truly works.

              The Antagonist and Overall Story Goal

              June 3rd, 2010

              You Cannot Avoid Screenplay Structure

              Early essays and accounts of a greater understanding of story.

              Four Throughlines

              March 29th, 2010

              The Confusion between Main Character and Protagonist

              Early essays and accounts of a greater understanding of story.

              Main Character and Protagonist

              March 26th, 2010

              Michael Hague's Screenplay Structure and Why It Works

              Early essays and accounts of a greater understanding of story.

              Four Throughlines

              March 22nd, 2010

              The Mind of a Main Character

              The base operating system of a character signals to the Audience why the Main Character behaves a certain way, expecting certain results.

              Main Character Throughline and Main Character Problem-Solving Style

              March 14th, 2010

              How Main Characters Approach Problems

              Some prefer to take action, others prefer to internalize. Knowing which one clues Authors in on the kind of conflict their Main Charater faces.

              Main Character Throughline and Main Character Approach

              March 9th, 2010

              Development of Character Arc

              All growth is not transformative; sometimes a character stands fast to their resolve in order to change the world around them.

              Main Character Throughline and Main Character Growth

              March 1st, 2010

              Main Character and Meaning

              When it comes to making your narrative mean something, a clear indication of the central character's point-of-view is paramount.

              Main Character Throughline and Main Character Resolve

              December 3rd, 2009

              Character Motivation Defined

              Archetypes consist of one Action and one Decision element.

              Archetypes and Motivations

              November 28th, 2009

              Archetypes That Make Sense

              In a complete story, characters perform a function.

              Archetypes

              November 26th, 2009

              Archetypes and the Hero's Journey

              A better method for appreciating character relationships exists.

              Archetypes, Story Driver, and Hero

              November 8th, 2009

              Two Sides of the Same Coin

              The cliché of the century finds roots in human psychology.

              Influence Character, Main Character Throughline, and Relationship Story Throughline

              September 24th, 2009

              What Character Arc Really Means

              Some characters grow by maintaining their resolve against all odds.

              Main Character Resolve and Steadfast Main Character

              September 13th, 2009

              Determining the Mind of a Main Character

              How a character thinks determines the order of Acts within a story.

              Main Character Problem-Solving Style

              September 7th, 2009

              The End Of A Main Character's Arc

              Peaceful resolutions come in many different ways, regardless of how reprehensible.

              Personal Triumph, Story Outcome, and Story Judgment

              August 23rd, 2009

              Untapped Potential

              An examination of a missed opportunity for story greatness.

              Relationship Story Throughline and Tale

              July 17th, 2009

              Of Tragedies and Triumphs

              A meaningful ending is one where the Author communicates a complete argument.

              Story Judgment, Story Outcome, Main Character Throughline, and Overall Story Throughline

              July 8th, 2009

              Writing the Personal Tragedy

              The combination of a successful outcome with an unresolved emotional state creates this bittersweet narrative.

              Story Outcome, Story Judgment, and Personal Tragedy

              June 28th, 2009

              Writing the Personal Triumph

              The combination of a failed outcome with a sense of peace creates this bittersweet narrative.

              Story Judgment, Story Outcome, and Personal Triumph

              June 8th, 2009

              How to Write a Tragedy

              Mix equal parts objective failure with subjective angst.

              Story Judgment, Story Outcome, and Tragedy

              June 2nd, 2009

              How to End a Movie

              Meaningful endings are a result of orchestrating a compelling argument.

              Story Outcome, Story Judgment, and Triumph

              October 31st, 2008

              A Case Of The Missing Heart

              Visually stunning but lacking heart? It's not just one thing that is wrong, it's two.

              Relationship Story Throughline

              September 25th, 2008

              A Story is an Argument

              For a narrative to enjoy lasting meaning, an argument must form the foundation of its structure.

              Tale

              June 16th, 2008

              Every Character Should Have An Arc

              But not every character needs to change their personal point-of-view.

              Main Character Resolve and Main Character Growth

              April 30th, 2008

              The Distance Needed To Write A Meaningful Story

              Stories are as long as they need to be to fully explore the argument being made.

              Story Limit

              October 10th, 2007

              Why You Shouldn't Care How the Dramatica Theory of Story Works

              A look under the hood proves to be a tremendous waste of energy.

              October 7th, 2007

              The Most Important Event in a Story

              The event that creates the original inequity motivates the efforts to bring about resolution.

              September 17th, 2007

              A Good Impact Character Makes Things Uncomfortable

              Influence Characters challenge the Main Character to deal with their justifications.

              Influence Character

              August 31st, 2007

              The Dramatic Differences Between the Male and Female Mind

              The seemingly crazy ways your partner looks at the world could help you better understand story.

              Main Character Problem-Solving Style

              August 20th, 2007

              The Second Most Important Character in a Film

              Steadfast characters believe the same thing that drives them should drive everyone.

              Influence Character, Influence Character Resolve, and Main Character Resolve

              July 11th, 2007

              Thinking of Your Audience First

              Narrative structure isn't always about the story--sometimes it can help an Author better understand their Audience.

              Nature, Essence, Reach, and Tendency

              July 9th, 2007

              Ratatouille: Why the Film Seems Too Long

              Replacing one director with another resulted in competing storyforms--with different levels of scope.

              Story Limit

              June 15th, 2007

              A Simple Way to Look at the Throughlines of Your Story

              When looking at the conflict located at the center of your story, there is a simple question you can ask yourself to determine what thematic issues you should be exploring.

              Four Throughlines

              May 22nd, 2007

              Steadfast Characters and the Crucial Element

              Exploring character arc in characters that don't "change."

              Steadfast Main Character and Crucial Element

              May 7th, 2007

              When the Main Character is NOT the Protagonist

              Separate the perspective of the Main Character from the function of the Protagonist and open up an entirely new world of storytelling.

              Main Character, Protagonist, and Hero

              April 30th, 2007

              Writing Consistent Plot Points

              Break this relationship and your story falls apart.

              Story Driver

              April 24th, 2007

              The Keys to the Crucial Element of Screenwriting

              A way to see character arc without the perspective of time.

              Steadfast Main Character and Crucial Element

              April 23rd, 2007

              Casino Royale: Rewinding Your Main Character

              Compare the end with the beginning to determine Resolve.

              Main Character Resolve, Backstory, and Justification

              March 8th, 2007

              Stories Are Like Birthday Cake

              You know how great one tastes, but you probably don't know what goes into it.

              Dramatica and The Storyform

              March 6th, 2007

              The Prestige: Identifying the Main Character

              When defining the structure of your story, who you are looking at and who you are looking from within matters.

              Main Character and Influence Character

              March 2nd, 2007

              A Way to Build Dramatic Depth

              Thinking in terms of Hero only is limiting.

              Protagonist, Main Character, and Hero

              December 16th, 2005

              Why Act Order Is More Important Than Time Spent

              Most story paradigms emphasize the amount of time spent on an Act over the more important order in which the Acts appear.

              Plot Progression and Story Outcome

              October 24th, 2005

              Determining Your Protagonist’s Goal

              In order to clearly define the Goal of your story, define who the Audience roots for and make that side the Protagonist.

              Protagonist and Overall Story Goal

              July 19th, 2005

              Dramatica Simplified

              A simple way to look at the theory's eight essential dynamic story points of narrative.

              Main Character Resolve, Main Character Growth, Main Character Approach, Main Character Problem-Solving Style, Story Driver, Story Limit, Story Outcome, and Story Judgment