Right. And what I was really thinking when I said it could be impossible to find a storyform for a half formed idea was that it would be impossible for Me to find a storyform for You when I don't know your whole idea. But if I am finding a storyform for my own idea, I can't really go wrong. Watch.
I want to write a road trip movie. Sounds like a Spacelock. I'll go with it. I can't be wrong as long as I don't throw a timer in there for some reason. I want there to be two people in the car together who are enemies. Sounds like they're stuck together, so that's RS Universe. Can't be wrong as long as I show conflict in their relationship coming from the two of them being stuck together. No, wait. I want the conflict in their relationship to come from things they do on the trip, like running out of gas and having to walk six and a half miles to find a hotel to stay the night in. I'll switch it over to Physics. Still can't be wrong as long as I show the Physics of the trip creating relationship conflict and not the Situation of being stuck in a car together. Even though I don't have a vision of the whole story yet, by selecting RS Physics, Dramatica can show me the whole vision of the RS.
And that's why I keep saying I could be way off, or that it's not a problem, @emm, if you change the selections we suggested. We don't have a whole vision of the story yet, so anything could change that.
I still haven't had a chance to think about your post about your earlier notes and how it affects the alignment we offered, but let me speak to how I got to MC Psychology. As I said in my last post, the elements in your storyform are meant to be the source of inequity, or the source of conflict. Given that, when you tell me about how Mitch is dreaming and conceiving and doing all these other things, even if I don't know what conflict it creates I assume you are telling me that those things are what will lead to conflict in the story. That's why I might make statements like these:
I'm saying that what you said prior to that sounded to me like the process of Psychology, and then reiterating that that process needs to lead to conflict. If you don't have that process lead to conflict, then all you're doing is using the storypoints as storytelling. Because I love to give examples, let's say you have a Sign Post order of Conceiving, Being, Becoming, and Conceptualizing and you encode it like this.
SP1. Dave conceives of an idea to get rich quick.
SP2. Dave pretends to be a successful business man in order to attract investors.
SP3. Dave becomes a millionaire and starts acting like a rich snob.
SP4. Dave makes plans to travel the world.
If that's all I come up with, and then I try to tell that story, it's not going to be particularly interesting. It's just a series of events showing what Dave does. Maybe it's okay, maybe not. But it's probably fairly dry and dull because there's no conflict. But what if I encode it like this?
SP1. Dave conceives of an idea to get rich quick, which causes his girlfriend to kick him out of the apartment because she can't rely on get rich quick schemes when she thinks they both need stable jobs.
SP2. Dave pretends to be a successful business man to attract investors. His old boss shows up to his seminar and jeopardizes the whole scheme.
SP3. Dave becomes a millionaire and starts acting like a rich snob which drives away any friends he might have had left.
SP4. Dave makes plans to travel the world which alerts the police to his presence allowing them to find and arrest him for fraud.
Not perfect by any means, but there's much more going on. Now there's some conflict, something to make it interesting, something for the audience to care about.
So back to how I came up with Psychology, when I said "Being jealous leads to conflict in his relationships", I don't know what that conflict is. I'm just assuming that you're going to add that. Without that conflict, there really are no Psychology problems in the story. If we decide that the MC is in Psychology, as I said above, as long as we encode that conflict in there, we can't be wrong. From there, of course, Dramatica places the IC Physics. I'm interested in how your particular IC will work because it sounds like all of her Physics are in his mind. But that can be a topic for later on. Anyway, after I suggested MC Psychology and you said the OS was about addiction, Lakis pointed out that that seems like a Mind problem (again, as long as dealing with addiction leads to conflict!). I agree that addiction seems like a Mind problem, but I wonder if that might be a Psychology problem in some cases-but that's also probably for another time.
So to answer the questions I asked earlier:
The reason we suggested that alignment is because the processes we were privy to sounded like MC Psych and OS Mind assuming they lead to conflict. And what to do with that info from here is just to make sure you add that conflict.
Now let's talk about your post where you mention your earlier notes:
When I suggested Mitch in Psychology, I was doing so based on all the information I had about Mitch. Now you add that Mitch is struggling to stay away from the bookstore but ends up going in and it sounds like you're saying that creates conflict. So now it's up to you to decide if Mitch's personal conflict, or maybe the relationship conflict is actually coming from, say, the Physics of entering the bookstore. If so, we'll need to find a new throughline alignment.
The other option is to keep the stuff about Mitch trying to stay away from the bookstore only to end up going in and show how whatever conflict might be related to that is coming from Mitch's Psychology. Just in keeping with the Concern of Conceiving suggestion (and I'm playing kind of loose with things here, i'm not sure this will be a perfect illustration of Conceiving as a Concern), maybe Mitch has the idea that staying away from the bookstore is the way to solve his problem, but that leads to him having a internal conflict, arguing with himself until he finally relents and goes inside. Then he has the idea that if he shows up everyday, she'll eventually notice him and he ends up missing out on some other important events because he keeps going to the bookstore. I don't know, something along those lines. Anyway, it's all up to you. However you want to approach that particular problem.
Hopefully all that makes sense. Let me know if or where you have questions. And forgive me for the long "Dramatica for Beginners" post. I'm obsessed with Dramatica and love talking about it. I can't help myself.
PS. OH YEAH! One more thing:
My current hourly fee is free, but I'm thinking about doubling it! Haha. I just hope I'm being helpful and not leading anyone astray with my advice.