But you are defending these posts by suggesting that this case is somehow representative of all cases.
Everyone is given the benefit of the doubt here. In this case I even addressed it through private messages. Warnings were given and second and third and fourth chances were given. How many times do I need to explain the difference here before everyone gets that this was just a bad egg?
When people struggle with the theory or don’t accept some of the givens, they turn it into a religion. They don’t understand Mental Sex, or they don’t buy it, so it’s easier to try and turn it into something that needs to be believed.
I get that. You need faith when you’re not willing to accept the evidence that is right in front of you.
And by evidence I mean how “right” something like the plot progression feels both in the Signpost order and the Plot Sequence Report. Presumably you appreciate the tool because you recognize some value in it—your own experience is evidence enough and you accept the order of events as something you should follow.
That order is based in large part on the concept of Mental Sex–on the difference between Linear and Holistic Problem-solvers.
To me, it’s a simple matter of cause and effect. I see the effect of the Plot Progression provides by Dramatica and therefore accept the premise of Mental Sex.
That’s acceptance.
If one rejects the concept of Mental Sex, yet still turns to the Plot Progression, then yes–I can see the need for Faith there. The Faith that somehow some other way these Signposts and Sequences magically fall into this order.
If it works for that individual that’s great, but the Act Order is not repeatable based on faith.
I’m pretty sure the engineers at SpaceX didn’t turn to faith when it came to landing Falcon Heavy’s rocket boosters in tandem. I am certain that they decided to allow theoretical concepts of physics (Newtonian or otherwise) to guide them in their decision making.
The storyforms and analysis are provided to give everyone an opportunity to see how those play out in other works of fiction. Yes, most are just the Storypoints themselves, but if you are so inclined you can learn quite a bit by watching or reading those stories and following along with the storyform.
It all depends on how much value you find in the Dramatica Storyforming process and how research into that area can save you from exploding on the launch pad of your story.
(Which I understand, in certain cases with SpaceX, is not the best analogy!)
) What we need is the Dramatica equivalent of George Lucas–someone to make a blockbuster movie, who loudly swears by their particular narrative theory, creating a massive sea change in story creation.
