Examples of Being that aren't trying to act like something?

questions
#41

I actually do have a complete storyform, but while asking “What if…?” to make sure I was putting my best ideas forward, I had a variation on the idea w/ more dramatic potential: MC temporarily gets what I’d originally deemed the Goal but maybe in Signpost 3. He tries to make it work, but it doesn’t fix his life like he’d hoped (I suppose that could be Being since he’s been trying to fit into a different life, but it’s very MC-centric), leading to him wanting to hide from the world again (typical “all is lost” moment), but then he has to take action at the climax and save people from an actual giant monster by trying to navigate a dream to communicate with it (ok, all the persuasion in my story sounds like Psychology). By doing this, he somehow learns self-esteem and faces a fear that solves his MC anxiety problems (MC Issue of Worry), and even though MC couldn’t get the exact normal life like he originally wished for, and IC couldn’t get the exact life of fame and fortune that he hoped for, they do improve their lives and find a sense of belonging or peace or whatever.

That got me waffling over how to rephrase the Goal so I could incorporate the change without changing the storyform much, if at all.

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#42

That sounds really cool!

My two cents (do NOT read too much into this as I don’t know your story that well) is that it sounds like a Failure/Good where they realize the Goal wasn’t that great after all, it wasn’t worth the trouble or wasn’t worth holding on to. Does that sound like a possibility?

I mean “living the normal life” and “living a life of fame and fortune” both sound like variations of the Being Goal. And since they don’t get those lives they wanted, if that was the Goal then the Outcome would be Failure.

#43

Yeah, that’s why I wasn’t sure about Fail or Success since if it’s something like getting to a better place, then they do succeed in that.

EDIT: I think I might be confusing story structure for story. If they decide, “gee, I sure want a better life that I can feel good about” but they go about it the wrong way, that might just be OS Symptom/Response stuff and they adopt the Solution to get that fulfilment in some other way for a Success. I don’t know.

#44

I believe you should always try to encode the Goal as specifically as you can. That’s why I liked living “the exact life of fame and fortune he hoped for” … and even the “exact normal life he originally wished for” … they sounded like you had pretty specific ideas there.

Whereas “getting to a better place” is really vague, it sounds more like the Dramatica definition of Judgement, actually. I think the Goal needs to be objective and separate enough from Judgement so that it would be possible to Fail but still have a Good Judgement, or to Succeed but have a Bad Judgement. Getting to a better place doesn’t seem to leave room for either.

But yeah, it can be hard to figure things out before you write the story. It’s okay to leave it fairly vague ahead of time and then adjust as you go. (That’s why I started writing my current story knowing neither Outcome nor Judgement!)

#45

I really hate this uncertainty… I’m afraid to put my foot down and, for example, encode something concrete that functions but I don’t feel right about (like a “yes, I love it!” kind of feeling) for the sake of moving on. Like if I suddenly declared IC should be, I dunno, working as a baker for no reason, I wouldn’t feel excited about that idea. It’s like seeing a bunch of doors closing and I fear it’ll be ruined. Where’s the line between perfectionisticly digging for the perfect inspiring ideas, and being so pragmatic that you just choose any old idea that does the job?

I hesitate to “just write,” without having a clear list of illustrations to give me the confidence to make decisions that support the storyform. I’ve tried that and got caught up in minutia like word choices. Where does one start? Asking “What if…?” about an outline? Starting at Chapter 1, which I tried a while back, again?

#46

Have you considered switching to Potentiality? Instead of looking at the potential for error or change (Certainty), try taking a risk on whatever has the greatest possible potential (Potentiality). As long as there is no reason an idea (like making the IC a baker) should not be a great idea, go ahead and treat it like it’s the greatest idea ever. If it doesn’t work in the first draft, change it in the second.

#47

I actually think it’s okay to leave some things blank, and I’d certainly recommend that over forcing something in that doesn’t feel right. The feeling you get of doors closing is probably your “muse” getting mad at you for putting in something dumb that doesn’t fit!

I left my IC Issue of Delay blank (no encoding) before starting to write my current story, because I couldn’t for the life of me figure it out, even though all the other IC story points fit great. Now I’m thrilled with how it turned out – it’s one of the strongest story points (both in the IC’s own problems with delay, and in her influence on the MC coming from Delay). Most of those illustrations I didn’t even notice until after I wrote the scene, since they came from unexpected directions. But some of them are things I’ll tweak on revision (e.g. originally her mom was denied entry into a promising cancer trial; now I see it works much better for her to be waitlisted; also originally I had her flight status as a pilot revoked, but it’s become a major plot point for her to be suspended and awaiting reinstatement instead).

I actually think it worked out BETTER that I left that one blank. So feel free to do so, or throw something in that you think might work but put a bunch of question-marks in it. (I think early on I jotted down “Becca’s waited her whole life to travel to space… ???” which ended up a neat aspect of her character but isn’t really part of her Issue, more storytelling than conflict source.)

You cannot use perfectionism to generate ideas – that will block you faster than anything. Perfectionism and idea-generation are mutually exclusive – the former is a left brain expression (a problematic one when it comes to writing), while the latter is a function of your right brain or “muse”.

It really helps to think of your “muse” as a different part of you. Then you gently and expectantly ask your “muse” for ideas on solving a problem. Write your questions down like “What should Joe’s job be?” Then wait for answers, go for a walk and think about it if none come right away. When the ideas come you can evaluate them like, “no, fisherman won’t work because it’s not set on the coast” and sort of have a conversation with your muse. But always try to at least give the ideas consideration, this will teach your muse to come out and play more easily.

Also, sometimes the answer might be, “I’m not sure, ask me later”. Especially if you don’t need to know yet – like Joe’s job isn’t going to come up until Chapter 3 – this is a perfectly valid answer. Your muse may KNOW that you’ll come up with better answers and see more clearly after writing Chapters 1 and 2. (Trust me, it’s the ultimate holistic thinker, and sometimes it just KNOWS.)

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#48

I am totally in this boat. I feel like if the story doesn’t seem right or complete I actually lose enthusiasm for it as soon as I start the draft. It’s as if the muse knows that I’m just wandering around in the woods and isn’t interested.

Have you looked at any of Melanie’s Storyweaver stuff? She has a “creativity two-step” that could be helpful.

The other thing I’ve tried is to grab a couple dozen gists for a story point, paste them into a text document, and then brainstorm how each one could fit (this is a variation on Jim’s gist exercises he put together a few years ago which are also potentially helpful).

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#49

What might help is to realize that you can’t write your story with your left brain (alone). You have to let go and trust that if you have an MC, an IC, a relationship between them, and an OS, your story idea is the rough foundation of a complete story. As you go your muse will give you ideas that fit a single storyform, at least roughly. It may not be the storyform you thought it was (in which case you adjust the storyform later on). Or maybe it is, and you’ll actually notice when some things could use a bit of tweaking on revision to fit the storyform better (and in a way that feels right and excites you).

I actually find the best way for Dramatica to give you confidence is to write and come up with ideas first, on your own. Then later on you’ll notice how well they fit the storyform, in fascinating ways that you’d never come up with consciously. This reinforces the idea that hey, you actually know what you’re doing!

Do you have examples of it happening the other way, where you did have a story that felt right and you were able to stay on track with your draft?

It’s very important to distinguish between “I can’t start my story because I don’t know enough about it yet” from “I can’t start my story because I’m paralyzed by fear so I keep over-prepping”. It’s very possible for people to use Dramatica the way a fantasy writer might spend oodles of time world-building to procrastinate from starting the first draft. Instead of writing hundreds of pages on cultures and kingdoms and histories, you’re endlessly tweaking your storyform and trying to come up with better illustrations, when really you should be writing.

Of course, different writers need different levels of prep, from “I’ve got a cool idea in my head, that’s enough” pantsers to people that write 50,000 word outlines before starting the first draft. So I’m not saying you are using the storyform to procrastinate and overplan, but just be aware it’s a possibility.

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#50

I hope I’m not coming off as too preachy … I struggle with a lot of the same issues and I’ve learned that no matter what, writing the first draft is hard. Even with the greatest ideas and illustrations that match a perfect, solid storyform that you’re in love with, it can still be hell to put words on paper every day. (Especially day one.) You just have to push through it.

The one thing that can help you get better, maybe make it easier, is practice. Unfortunately, storyform illustrations and ideas and outlines don’t count toward practice to the same level that actual first draft writing does.

https://zenpencils.com/comic/90-ira-glass-advice-for-beginners/

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#51

Uh yeah. I think you nailed this.

It’s hard to find the balance. I used to be a complete panster – well, I would sometimes try to outline, but I had no idea about structure. Result: I never finished anything. It’s only after learning something about structure (not Dramatica) that I made progress and finally finished my first book.

Anyway … ask me again when I have a few more books under my belt. :wink:

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#52

In some ways, I’ve been going through this as well. I’m happy to say that I have finally found my StoryForm.

Something that helped me immensely was jumping around the different approaches available in the software. It seemed that I would often hit roadblocks because I was trying to force something. If that happened, I would try from a different direction.

For example, I went from the Story Engine to the Main/Impact option under Characters. I fiddled around with the StoryGuide, and I created all my Driver Characters and Passenger Characters.

I must have thought that I had the right StoryForm about 5 times before it finally clicked. I must have tried to arrive at a final StoryForm 50 times. It may be that one of your Givens is false. There was a temptation for me to check each box and stop thinking about it once I decided something was true.

For example, I decided that my StoryForm was very similar to the Wizard of Oz and because of this, I decided that Fixed Attitude worked with my OS Concern. And this almost carried me to the end of my StoryForm. It got me so close, but I finally realized that Situation was a better fit because the Inequity was external and real rather than a perspective due to a Fixed Attitude.

I struggled with my MC being in the realm of Manipulation because it seemed to limit him from actively driving the story (which has a quest component). However, I realized this was because I had erroneously identified what my Inciting Incident would be. One of my foundations was off.

Another thing that helped me out was seeing if I could arrive at the same StoryForm taking a different order. I sometimes started with Concerns, but other times I decided to focus first on MC Problem or OS Problem or from the Main/Impact option under Characters. There were certain aspects that I was really sure about and certain aspects that became clearer as I attacked from different angles.

I was able to reference a list of Gists online which helped me get a feel for where the different categories could lead me. I don’t know if this webpage is considered Canon around here in regards to Dramatica, but I needed some way to fill in the blanks since I use the Windows version of Dramatica.

If anything, this page made me more comfortable with bending concepts as needed or seeing them in some ways that I didn’t think of on my own. It certainly helped me eliminate things that were impossible for the StoryForm I wanted.

As mentioned before, I questioned some of my basic Givens. I ended up discarding the love interest as the IC because it just didn’t work. I wanted it to, but it didn’t.

I flirted with making my MC the IC rather than the Protagonist, but I decided against it – because I have a very specific POV that is necessary for my story.

I’m an actor and filmmaking – at least by education and history. I see stories as visual, living, and breathing things. I think that modern novel writing has shifted to a very visual style of writing (or maybe it has always been that way). I am surprised by how much novelists are borrowing from screenwriters and filmmakers (or perhaps they have always been this way – but I feel like the world of ADD and ADHD have changed sensibilities in regards to the novelistic narrative).

For example, I found K.M. Weiland’s revelations as being very basic though she says in the article that her understanding was even more limited when she wrote her book How to Structure Novels before she had written the article:

It is like she finally got around to reading Syd Field’s book and everything became clear to her. I’m not knocking her. She appears to be a very successful and active writer. I’m just surprised some of the things that I consider to be pretty basic are revelations for her.

Anyway, pretty longwinded, but try attacking it from different angles and in different orders, try examining your Givens, and try taking a look at the Gists if you don’t have access to them with your version of Dramatica.

Caveat Emptor: I am newer than you in regards to Dramatica.

#53

P.S.

I am chomping at the bit to start writing. I was getting pretty frustrated with the StoryForm process, but I am certain that outlining and prepping are critical for me. So much so, that I plan on finishing my LEVEL III StoryGuide before I charge forward.

However, I have already started writing down scene ideas and actual scenes for my characters. I’m not worried about them fitting into my story (though they might). I’m not worried about them ending up in my final draft. I look at it as an opportunity to get to know my characters.

I don’t know if authors generally do this, but I started doing it to apply some of my acting concepts to my writing. Actors use the MAGIC IF to explore what they would do in imaginary situations. I like to put my characters in ludicrous and mundane situations (sometimes with zero story value) and see what they do in those situations.

I also try to think about THE MOMENT BEFORE. A person’s interactions are going to change greatly depending on the moment before those interactions. I love acting and I certainly see all these Story centric arts as being related and useful to each other.

Anyway, just keep attacking the problem and try to change your perspective if possible.

#54

Dramatica is a tool to help you develop your story. If you’re chomping at the bit to start writing, then start writing. Dramatica will still be there when you lose the burn to write. Plus, everything you write has the advantage of having been considered more deeply than you may ever have known a story before.

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#55

Yeah, I like that 2-step thing. Playground exercises make me lock up and maybe feel sick since all I can think about is how much I’ve failed at them (like confusing using story points wrong as “story telling” instead of “source of conflict”) and how I already did them for this one book I’m trying to write.

In fact, the thought of trying to write this one book makes me sick, though sometimes I want to write when I’m doing something else and feel inspired. I’m married to this project and can’t just toss it for another story that’s less close to home either. I think to myself, how can I hope to write about why characters shouldn’t avoid their fears when fear drives me away from writing it? It’s discouraging.

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#56

Hey SharkCat, the key to writing is writing. First thing, put butt to seat. Then write, even if it is gibberish or writing your thoughts or whatever. It usually takes a while to warm up and assume anything you write in the first hour or so is garbage and you’ll throw out, but you have to get past that to warm up.

If you want, try writing as if you are writing it but someone else is writing about what you know. It may give you just the right amount of objectivity to lower your inhibitions.

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#57

Totally agree with Chris. 100%.

Make sure you read that “ZEN Pencils” link I posted earlier. Also, here’s a bunch of other motivation for you:

  • S**tty First Drafts, by novelist Anne Lamont
  • Remember that the first draft is “just for you”. Write it as though you’re just playing around, daydreaming. Don’t worry about making it good for anyone else, or even “good” at all. In Stephen King’s On Writing he recommends “writing with the office door closed” – not sharing the first draft with anyone – for this very reason.
  • Try different procedures for writing – different times of day, different states of mind. Writing on an empty stomach, maybe before you’ve had breakfast vs. writing with snacks at hand. Writing first thing before you’ve fully woken up in the morning vs. writing just before you go to bed. Different beverages (tea, coffee, herbal tea, water). Writing just after exercise. etc.
    Why? All of these things may affect your left and right brain differently, and thus, your level of self-criticism vs. creativity.
  • Were you ever creative as a kid? I often think about getting back to that version of myself, when I was kid making silly comics and short stories, before the notion of being critical of my own work ever set in.

I had almost given up being able to write a novel, and that was AFTER developing, with Jim’s help, a great 20K-word outline with a solid storyform that I absolutely LOVED. Just too much self-criticism. One of the secrets for me was to write at nighttime, just before bed. I think my inner critic gets sleepy at that time and lets down his guard!

You’re not alone.

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#58

Thanks for replies. I don’t know what to say. I think before bed is when I want to do it, but that’s because I’ve procrastinated so much and when time has “run out” is when I feel like it. Ha ha.

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