Eating Worms for Inspiration. Good or Bad?

Oh, I agree. Developing the heart of the story is, without a doubt, my biggest “blind spot” as M.A. Phillips refers to them. And, by the way, thank you for taking the time to shed light on them, I really appreciate this.

So, looking at the MC Throughline, I think we can build the following:

DOMAIN: Activity Dancing, Painting, Writing, Singing, Acting, etc.
CONCERN: Obtaining To receive acknowledgement from the world at large of his own self-worth
ISSUE: (Approach vs. Attitude) Plagued with low self-esteem, and mocked by friends and family, the MC seeks acknowledgement from the world at large to prove to those who don’t believe in him that they are wrong
PROBLEM: Reconsider He’s always re-evaluating which venue to achieving his goal, always looking for the next best thing
SOLUTION: Consider If only he evaluated the worth/value of his endeavors and recognized his goal is within his grasp through those who already love / need him
SYMPTOM: Logic People around him – perhaps a father figure? – points out his long string of failures and states he hasn’t made anything out of his life.
RESPONSE: Feeling He lashes out at those who “accuse” him of not making anything out of his life, “Where are your dreams? Where are your ambitions? What have you ever done with your life?” He states, “I’ll prove you wrong!” Then, after the dust settles, feels like crap because deep down inside, he knows they’re right. He’s worthless.
UNIQUE ABILITY: Approach The MC is relentless in his approach, never stopping to take a breather, always on the go.
CRITICAL FLAW: Delay The MC puts off until later making decisions that can help ground his life (getting a job, getting married, etc.).
BENCHMARK: Understanding As the story progresses, the MC understands more and more the futility of his endeavors and, at the end, that he is his own worst enemy. But despite all his understanding, continues on the same path.

This is a natural first way to think about Symptom and Response but it is rarely an accurate way to do it. Let me be explicit about what I am referring to: The thing he thinks is causing his conflict is the people around him pointing out his long string of failures and so it’s only natural that he lashes out – that seems like a Response. But I think there is a better choice to be made.

The Response should eradicate (momentarily) the conflict, the friction. These Feelings you list would only seem to increase the conflict. Also, as you point out, he still feels like crap – which means he would know this isn’t the right path. (Obviously, something has to indicate to him that this isn’t the right path, so having these feelings is actually fine, but I want to make a crystal clear case to help you learn.)

Let’s take a step back, and say: "Your MC has devoted himself to learning each of the various arts: he learns from teachers that are tops and produces work – but as his father points out, this logical path has failed to make him into an artist. When he goes to do it again, his father points out this is illogical.

Yes, he lashes out. Let’s keep that – but those feelings only stir him up. So, he employs a different Response: he goes to a bar where he can drown his feelings and he buys a hooker so he can essentially purchase feelings and he hangs out with his buddies who make him feel good about himself. This fills his tank and he is ready to go back to his new teacher/muse.

See how separating the Actions makes them deeper?

On to another topic:

These have more to do with the OS (read the manual) than they have to do with the MC Domain, so they are kind of floating here and seem to be aimed at the wrong thing.

Also – and this is totally relevant. This list, for you, is a siren song. It does not matter if you can fill it in. That will certainly help you learn Dramatica, but it will also make you more blind to your blind spots.

Yes.

If you are not good at getting into the skin of your MC, then learning Dramatica will build your strong muscles and atrophy your weak muscles. You need to take additional steps to ensure this does not happen.

Let me digest these notes.

Okay, now that REALLY piques my curiosity. What might these additional steps be?

Right, I see that. Defining the actions & responses more distinctly makes them clearer and gives more volume to the story.

So would these examples work?

SYMPTOM: help My neighbor constantly wants to help me with my writing, makes plans to meet up every night.
RESPONSE: hinder I pretend like I’m not home when he knocks at the door, hide when he peeks through my windows.

SYMPTOM: conscience The chastity belt my mother makes me wear prevents me from having sex.
RESPONSE: temptation I satisfy my urges by indulging in drink and violence.

SYMPTOM: control The government implants microchips into all of its citizens to control them
RESPONSE: uncontrolled Hackers break into the government’s computer system and render it useless

SYMPTOM: avoidance The woman of my dreams keeps avoiding me, never returning my calls.
RESPONSE: pursuit I create an online profile and go on dates every night to forget her.

SYMPTOM: faith My husband is convinced the world will end next week.
RESPONSE: disbelief I call up all my friends who did not believe marrying him was a good idea in the first place. They all suggest I get a divorce.

Really? I can see how Unique Ability is more OS than MC, but the Critical Flaw seems very MC to me…

The Critical Flaw undermines the MC’s effectiveness at using their UA. That’s why it’s related to the OS.

Their UA helps bring about the Successful Solution of the OS – the CF undermines that.

I’ll respond to the rest of your post later.

In general, I would say that your examples work, but they play a bit fast and loose with the actual definitions of the words. But – the main thing is that the examples seem good, and I don’t want to overwhelm you.

Dramatica is overwhelming by its nature, and lots of people drown, and I don’t want to do that to you.

As for this, here’s the thing. Dramatica, with it’s 4x4 design, tends to attract very linear, mathematical thinkers. But lots of it is actually a very mathy look at very subjective emotional things. It works really really well as analytical tool for subjective throughlines, which is great, but the result is that people who don’t naturally get into the skin of their characters learn (incorrectly) that they don’t have to, that they can get by thinking about them objectively. But this doesn’t tend to work for creation, only analysis.

[Unless you want to write really thin stories, probably action movies, probably not great ones.]

So, not only can Dramatica mislead you inadvertently, it can also get you working your story logic muscles (which is good), and get you to ignore your intuitive character muscles (which is bad) and the result is an increasingly worse balance between the two (also bad).

If you (or anyone) are interested in doing this, shoot me an e-mail, and I’ll bounce some stuff off of you.

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Sent a PM, not sure where email addresses are listed in the forums.