Dramatica experts, help me please!

[Ra1]

@glennbecker

The best description of this is “paralysis from analysis”.

Ra1:

Lol! this cracked me up…its funny a few months back i was writing a movie for a director here and when i told him about 72 elements in the story. he freaked out. I freaked out too and then didn’t touch dramatica for quite some time.
Congrats!
Thank you without yours and @MWollaeger insight it would not have been possible.

Now the relationship story advise… I am going to take it very very slowly. even though the production house has already started hyperventilating about the delivery . I am going to wrap my head around relationship story and then going to give it a go. because i have covered many/ things in the son and father ( mc and ic) throughlines

Thank you so much @glennbecker.
Keep your shining light on.

[Ra1]

Much appreciate your guidance @MWollaeger

[glennbecker]

@Ra1

Thank you without yours and @MWollaeger insight it would not have been possible.

Anytime.

@Ra1

i was writing a movie for a director here and when i told him about 72 elements in the story. he freaked out.

Ha! He wasn’t overjoyed to discuss the RS Critical Flaw of expediency?

@Ra1

I am going to wrap my head around relationship story and then going to give it a go. because i have covered many/ things in the son and father ( mc and ic) throughlines

One last thing here. All the throughlines are perspectives first, characters / relationships second.

Although by convention the RS is the relationship is between the MC and IC, it can be any relationship that is explored subjectively.

It sounds like you have plenty of RS stuff you can do with father/son, but without reading your story, I couldn’t say.

If you find there isn’t much outside of MC and IC arguing, you could just as easily explore:

• Mother/Son
• Siblings
• A Romance

I’m outlining a horror story, and the RS is the friendship between a boy and his imaginary friend. Kind of a Calvin and Hobbes thing.

The goal is to have some thread that’s really heartfelt and emotional. If the father/son thing is holding you back, try focusing on a different relationship in the RS.

You’ll probably find your story opening up in a way you didn’t think possible.

Let us know how it goes.

[Ra1]

I’m outlining a horror story, and the RS is the friendship between a boy and his imaginary friend. Kind of a Calvin and Hobbes thing.

WOW!! like it…

If you find there isn’t much outside of MC and IC arguing, you could just as easily explore:

• Mother/Son
• Siblings
• A Romance

That’s a great idea. Let me look at the relationship story through these new lenses.

One last thing here. All the throughlines are perspectives first, characters / relationships second.

so what i understand her is that its better to explore perspective than characters. so for example a protagonist prospective aka protagonist like character , not the protagonist per se.

but what about Mc perspective. The perspective could be expressed through different characters of the throughline.
I might be getting this all wrong though.

Many many thanks @glennbecker.

[glennbecker]

@Ra1

so what i understand her is that its better to explore perspective than characters. so for example a protagonist prospective aka protagonist like character , not the protagonist per se.

Think of it as a throughline is a perspective first. Imagine your story as a thing you can hold and turn around in your hands.

The OS perspective, you see what the conflict looks like for everyone (including the protagonist). They all experience the same conflict. It’s how they are dealing with the a problem.

The MC perspective lets you see how all the conflict feels for I / Me. It’s the perspective that shows personal conflict. How am I dealing with my problems?

The IC perspective shows all the conflict that You are creating. It shows how you are dealing with your problems.

The RS perspective is our conflict and how we deal with problems.

All of this to say, these are the writer showing how conflict looks from all these perspectives.

I wouldn’t chase this idea around too much yet.

Just know that as long as the RS perspective is thematically consistent with the rest of the story, it can be any / many relationship(s).

Just try to keep it focused on relationships and not people, and if you can tug some heart-strings, even better.

[MWollaeger]

@Ra1

so what i understand her is that its better to explore perspective than characters. so for example a protagonist prospective aka protagonist like character , not the protagonist per se.

If you are going to start thinking of things this way, get ready to be uncomfortable for a bit. (Which is okay.)

Outside of the script, you can think about the perspective and the character and work to make them both better. But once you write, you will see that the perspective is expressed through the character and their actions.

How do you demonstrate pursue without having someone actually pursue something? You can’t.

The idea of pursuit in your movie is going to be expressed by someone pursuing. And since characters are defined by their actions, you can’t separate these things once you writing.

[Ra1]

@glennbecker. The pain of creation is lessening. Thanks a ton.

[Ra1]

@MWollaeger. I totally get you Thank you so much. Now my writing is laced with intentions. I won’t say it wasn’t previously. But now it has become clearer. Now jumping into the next battle of translating the elements into workable viewable executable scenes on screen.
Thank you for guiding.