Totally avoid it at all costs. As I long as I don’t acknowledge it, it doesn’t exist!
1 Like
My most simplistic intro is to say Dramatica gives you a set of semantic terms that helps you understand the story you’re trying to create. It helps you develop your story with a deeper understanding of all your story’s dramatic elements; characters, plot, themes… It’s a complicated system and can be mind boggling, but it really helps you discover your story faster than you would through endless rewrites.
1 Like
In med-school, my professor used to say to be great at anything, it takes three steps.
See one.
Do one.
Teach one.
I feel it is necessary to help people “see” the benefits of Dramatica by actually showing them successful examples they can relate to. Say, a fantasy writer could be referred to Tracy Hickman as a very successful example.
Then you encourage them to try the theory in its easiest form. Let’s not talk about things like PSR’s and so on. Just basic throughlines. Tailor a simple exercise for them( We can all come up with this in the forum). Let them actually feel like they can “do” it.
Then in the process we “teach” them. And probably leave them to “teach” other writers(Excitement is a powerful motivator).
One of the reasons I’m really digging deep into the theory is that I’m writing an Epic Fantasy book. When it’s a global success, I’ll tell everyone (By example) about one of my secret weapons. Dramatica.
Stay blessed guys.
1 Like
I just happened on this article which seems great for those new to Dramatica. It takes the well-known idea that a story’s main character should have issues separate from the “A story”, along with a clue Harold Ramis gave in an interview about Groundhog Day, to really pull you into the way Dramatica works.
1 Like