Spinning Up a Story with a Storyform and Breakdowns

From Zero to Bunny Hero: A Quick Narrova Tutorial (StoryformBuilder → Narrova → A Complete MC Arc)

TL;DR: Spin up a random storyform in StoryformBuilder, open it in Narrova, drop in a tiny idea prompt (“telekinetic rabbit on the Mars explorer team”), rough in Signposts, let Narrova break them down into Progressions (our old Disney habit), hold the Solution off for a true leap-of-faith ending, then finish with a tight MC synopsis, name + backstory, and a polished Main Character Throughline. All this—and the other 75% of a complete story—ships in the latest Narrova rollout.


Why this tutorial?

Sometimes you don’t have a grand plan—you have a spark. Instead of hunting for a storyform that fits your intent, we’re going to find intent through story: grab a random storyform, pour in a specific MC idea, and let the structure show you what this story wants to be.

Our tiny idea:

“If my Main Character is a rabbit, hell-bent on becoming a telekinetic warrior in the new Mars explorer team—what would their MC Throughline look like in this story?”

We’ll walk that from blank page to complete MC arc.


Step 1 — Spin up a totally random Storyform

  1. Open the Storyform Builder
  2. Click Random until you see a constellation that feels intriguing.
  3. Save it. (You can always lock or tweak later; randomness is the point.)

:bullseye: Tip: Resist the urge to chase your “favorite” settings. Let the model surprise you.


Step 2 — Open that Storyform in Narrova

  • Click Open in Narrova from the Storyform Builder and set a new Story context.
  • You’re now in a space where Narrova understands Dramatica structure and can think with you.

Paste this as your kickoff instruction to the MC workspace:

if my Main Character is a rabbit, hell-bent on becoming telekinetic warrior in the new Mars explorer team - what would their MC Throughline look like in this story

Narrova will dive into the storyform and, using your idea, start to sketch out a comprehensive understanding of what this character’s personal Throughline will be all about.

You’ll even get a sneak peak look at what might happen each Act:

This order of thematic progressions is encoded from the random Storyform. The order is a carrier wave of meaning, based in large part on some of the Dynamics we find in our Storyform.

In order to capture the emotional growth of a story where the Main Character “alters their nature in response to a problem” and ends up “resolving their personal problems”, the above Act Order is recommended.

So, let’s dive in and see if we can explore even further.


Step 3 — Rough in the MC Signposts (fast)

We start broad: four Signposts that map the MC’s internal journey. You can nudge or re-roll, but stay light. We’re going to refine by Progressions next.

:light_bulb: Principle: Intent through story. We aren’t matching a storyform to a preconceived plan—we’re discovering the plan by obeying the storyform.


Step 4 — Break each Signpost into Progressions (our Disney habit)

At Disney, we learned to breakdown key poses for the scenes we would animate. The key poses would communicate the overall intent of the action (like our Signposts), and the breakdowns would flavor and give style to what would otherwise be a pretty bland A to B process. In Dramatica terms, that’s the same as taking a Signpost and breaking it down into 4 Progressions (beats/mini-sequences) that move the theme of the Signpost.

In Narrova, ask:

Great! can we breakdown the first signpost into progressions for him?

:bullseye: Narrova will use structural justifications and projection to land Progressions that actually evolve the MC’s issue, not just rehash it.

The act of Obtaining is no longer just about achieving or possessing something, it’s about achieving or possessing something in terms of what is true, what evidence and suspicions arise, and what falsehoods (or lies) keep the story progressing.

With Dramatica, story structure is more than simply what happens when, it’s also why it happens when, and how that why relates to everything else.

Step 5 — Do the same for Signpost 2

We’re on Mars now—what’s happening to this little guy on the mission? Same instruction, new Signpost:

that was really fun! ok so lets move into the second signpost and break that one down into progressions as well

And because we’ve moved on to a completely new set of thematic progressions, the story evolves with our appreciation of what this little guy is going through.

The training mission isn’t just about learning what to do, it’s about learning the importance of it, the kind of confidence (and lack of confidence) issues that come up, anxieties attached, and the resultant self-worth issues that come to the forefront.

There are 32K different unique Storyforms in the current incarnation of Dramatica theory. Each one of them progresses differently, so your results may vary–but they will vary meaningfully with the story YOU are writing.

Step 6 — Lock the Problem (Avoid) and hold off the Solution (Pursuit)

We want a leap-of-faith story: the Solution shows up meaningfully at the end, not as early relief. So we instruct Narrova to keep early beats problem-pressured:

oh - lets make sure that for both of these signposts that we don't ever reach the solution - keep making it about the problem for now

:compass: Why: If Solution keeps popping in, you deflate the pressure and the audience never gets that final “leap.” Keep the heat on.

He keeps avoiding, he keeps digging a deeper and deeper hole…


Step 7 — Signpost 3 = the “second half of Act 2” gut-punch

This is where conviction almost breaks. We go hard:

Break down MC Signpost 3 into Progressions. Make it particularly devastating. Heighten Avoid’s collateral damage. No Solution yet—only glimpses of what Pursuit would cost.

With that, there is only one place left for our little guy to go…

Step 8 — Final Signpost: change from AvoidPursuit

Time to earn the shift. We stage the Solution inside the final Signpost’s breakdown—specifically in the 2nd and 3rd Progressions—so by the last progression the change is undeniable:

lets move into the final signpost where he grows out of the Avoid and into Pursuit (go ahead and break it down again) - make the Pursuit solution happen within the sequence of the 2nd and 3rd breakdown of this last progression, and where the last progression is the culmination of his final change

Now we’ve got a complete MC Throughline in beats. Tight, motivated, and change-driven.

Step 9 — Pull a clean synopsis for readers

With all Four Throughlines illustrated, we can now go back over it all, pull them all together, and deliver a meaningful summary of character growth:

We simly ask Narrova to weaveour Progressions into a reader-friendly synopsis that still obeys the structure:

so much fun!!! - can you go ahead and then write this all out in a 1-2 page synopsis of his throughline throughout the story. go ahead and drop the dramatica terms when you do = but make sure you capture all the nuance of his growth and ultimate change

The result:

Synopsis

He calls himself the first telekinetic warrior with ears. The swagger arrives before he does—tilted helmet, a grin sharp enough to cut vacuum, jokes that make the quartermaster forget how many favors he’s already asked for. The new Mars explorer team is boarding soon, and he intends to be on it. He hustles a prototype amplifier, sweet-talks his way onto the tryout list, and slips past a stamina pre-check with a forged scan. The room fills with cameras and clocks; he offers proof by the pound—short, clean lifts, curated clips, telemetry trimmed to look perfect.

But clean isn’t the same as safe. Under pressure his power spikes, then collapses, and a trainer tells him flatly, “You’re strong, but not safe.” He nods, promises to fix it, and heads straight for the easy wins. When teammates start to question how his graphs never show the shakes they all feel, he smothers doubt with a bigger stunt and a brighter smile. There’s still the problem of the pass that gets him onto the roster. Minutes before the deadline, he submits a packet that isn’t right. The gate opens. He gets what he wants.

Training compresses into a countdown. He sees the breathing modules and panic drills as soft stuff, more meditation than muscle, and shrugs them off. Better to stack wins in the simulator, pre-setting parameters for tidy outputs the instructors can’t argue with. Confidence swells on a diet of curated runs. Then reality intrudes—mixed gravity, uneven flooring, a sudden weight where there shouldn’t be any—and his power flares, uncontrolled, rattling the rig and the people inside it. Worry nicks his edges. He doesn’t report the near-miss; he doesn’t have time for that kind of paperwork. He chases badges and endorsements instead: attendance logged, gear signed out, instructors’ names checked in the right boxes. The record says he’s ready. Inside, he knows he isn’t.

When the questions won’t go away, he answers them the way he always does: with a neat story and a poster. The fault’s in the instruction, he says. The next sim will be the clean one. He films a hype reel—ears up, stance wide, the whole “warrior” look—for the team bulletin and the outer-ring press. The dream feels better than the drills. It all breaks the night before launch. Cross-checked logs land like a hammer: timestamps don’t match, gain curves are too clean, the packet was cooked. His slot is revoked. The rookie he once helped, the one he was sure had no chance against him, gets his place. Security walks him to the line. The hatch hisses closed on a mission he was never truly ready to join. He stands in the bright wash of the floodlights and finally runs out of excuses.

Hours later, Mars throws a tantrum before the ship ever leaves the ground. A dust shear tears the outbound stack; a support gantry twists and pins part of the crew. From ground control, he’s assigned to sift data, to find the fault and feed it up the chain. He starts with what he knows best: blame. Faulty sensor. Glitched actuator. Anything but the ugly resemblance to his own unstable signature. Then the readouts line up—breath, stress, surge—like a mirror he can’t avoid. The trapped team doesn’t have time for his pride. He asks for emergency clearance. The officer in charge stares at him through tempered glass, sees the same rabbit who joked his way into a forged pass, and says nothing for a long time. Then she nods.

On the pad the wind is a living thing. Metal screams. Oxygen drains. The rookie looks up at him from beneath the twisted steel with the same mix of fear and faith he once sold for a laugh. He strips off the amplifier and stops chasing the act. No more staged lifts, no more tidy clips. He breathes the way the veteran showed him, the way he swore was a waste of time, and reaches into the weight with everything he is—fear, pain, focus, the rush he called “uncontrolled” because it scared him to feel it. The gantry rises half an inch, then a full inch, then enough for bodies to slide and hands to catch. He holds it long enough for them to get out. Long enough to hear a voice in his ear say, “That’s it. That’s enough. Go.”

It isn’t enough for the mission. The structure collapses after the evac, taking the launch with it. The countdown dies on a black screen. Debrief is a quiet room full of clipped questions. He tells the whole truth. He doesn’t ask for his slot back. He doesn’t try to point at glitches or instructors or anything that isn’t his own choice to cut corners and cover them with charm. There are consequences—there should be. He accepts them. He signs up for the training he dodged. He watches the rookie brief the press on the scrubbed launch, hears her refuse the narrative that makes him a villain or a hero. “He did what had to be done,” she says. “That’s all.”

Weeks later you wouldn’t know him if you were looking for the poster. He still jokes, sometimes, but the jokes are smaller and aimed at the right places: tension in a room, not the truth itself. He stays late for the drills he once called optional and shows up early to steady someone else’s breath when they start to shake. The power is still wild in him—the rush is still a rush—but he doesn’t wrestle it to look clean anymore. He learns where to plant his feet and how to carry fear without letting it carry him. He doesn’t get Mars. The window is gone and the mission will become someone else’s story.

His, for the first time, is not a lie. He wanted a warrior’s title, and he wrote himself a myth to wear it. What he gets is a quieter thing: the habit of doing the necessary thing when it costs him, and the willingness to live with doubt instead of hiding behind it. He walks past the poster one morning, ears tucked beneath a scuffed helmet, and doesn’t stop to straighten it like he used to. He heads for the door that never had a side entrance after all. Inside the bay, breath fogs his visor, the floor hums, and the work starts again.

Still feels a little impersonal, so let’s generate an image of this guy so we can see what we’re working with:

Awesome! Now we’re getting somewhere. Twenty minutes ago we had nothing, twenty minutes later we have an inkling of a story about an over-avoidant rabbit with telekinetic powers…and Mars…:sweat_smile:

And we know how he grows out of that problem, but why did he have it in the first place?


Step 10 — Give your MC a Name and a Why

Because this is the MC Throughline, we want personal cause. Ask:

this is great! what about giving him a name and a backstory for why he's so avoidant - then rewrite the whole synopsis to make it more of a personal journey for him

Narrova obliges with a possible reason WHY the MC Problem is Avoid in this story

:bullseye: Tip: All Backstory is is an indication to the Audience WHY the MC Problem exists in a story.

And here’s that more personal journey of Kip:

Personal Journey

Kip Merrin walks into every room five seconds early and already smiling. It’s a reflex: get there first, look like you belong, make people want you around. On the day he decides he’ll be the first telekinetic warrior with ears on the new Mars explorer team, he turns the charm up to eleven. He nicks a prototype amplifier with a favor owed from a quartermaster, slips his name onto the tryout manifest, and sidesteps a stamina pre-check with a forged scan. It’s all motion—fast, clever, a dance designed to get him what he wants without getting stuck where it hurts.

The tryout bay fills with cameras, clocks, and dust. Kip puts on a clinic of “proof”: clean, short lifts; telemetry trimmed to perfection; streakless graphs that look like discipline. He’s practiced this—finding angles that flatter, lighting that makes everything look under control. It bugs him that his power still wobbles under pressure. It bugs him more when a trainer says, “You’re strong, but not safe.” Kip promises to fix it and heads straight for the one thing that’s always worked: a bigger show.

He treats training like a countdown to a staged moment. When the breathing modules and panic drills appear on the schedule, he laughs them off. “I’m not meditating my way to Mars,” he says, and books another round in the simulator where he can pre-set parameters and stack tidy wins. His confidence inflates. Then the universe refuses to be curated—mixed gravity, uneven flooring, a sudden load that shouldn’t be there—and his telekinesis flares, uncontrolled. Alarms bark. A tech ducks just in time. Kip’s stomach drops. He scrubs the clip and logs a different run.

Questions ripple through the bay. A teammate points out that Kip’s graphs are too clean. An instructor asks where the raw footage is. Kip floods the channel with new clips and a grin that says, we’re all friends here, right? There’s still the pass—the one that gets him onto the roster. Minutes before the deadline, he submits a packet that knows when to lie on his behalf. The gate opens. He walks through.

He tells himself he’ll make it real once he’s in. He learned that trick on Chrysalis: get past the hatch first, figure it out later. The panic drill can wait. The past can stay sealed. He makes a poster in his head of the warrior he’s building: ears up, visor down, a stance that forgives everything that happened in the hydroponics bay. When the mission bulletin picks up his hype reel, the dream feels close enough to touch.

The night before launch, the poster tears. Cross-checked logs land on a table in a quiet room. Timestamps don’t line up. Gain curves are suspiciously smooth. The packet isn’t right. His slot is revoked. The rookie he once helped—wide-eyed, honest, annoying—gets his place. Security walks him out. Kip tries to find the grin, the line, the angle that always gets him back in. There isn’t one. The hatch seals him on the wrong side of his own story.

He goes numb and then livid and then small. The thing he never allowed himself to feel floods in—the fact that he keeps choosing easy over necessary, presentation over practice. There’s no time to do anything with that pain because Mars throws a tantrum anyway. A dust shear buckles a support gantry and pins part of the outbound team. Ground control pulls every set of eyes and hands into the chaos, and someone tosses Kip a console. “Find the fault.”

Kip does what he’s always done first: blame. Bad sensor. Glitched actuator. A problem without a person. The live data refuses to cooperate. It draws a profile he knows too well—breath, stress, surge—like a mirror he’s spent years avoiding. His chest burns. Somewhere under twisted metal, the rookie he gave his amplifier to once upon a time is losing oxygen. Kip realizes he can spend another hour being right or one minute being useful.

He asks for clearance to act. No posters, no stunts. He names the ugly pattern on his record and says what he’ll try to do. The officer in charge studies him a long time. He sees the rabbit who used to turn every room into a stage. He also sees the one who isn’t running now. He nods.

The pad is a howl of wind and grit. The gantry wails. Kip meets the rookie’s eyes through a web of shadow and steel. He doesn’t promise anything. He doesn’t look for the camera. He peels off the amplifier—the one that made him feel like a superhero—and breathes the way the old veteran taught him in a session he mocked as “yoga with extra steps.” He reaches into the weight with all the parts of himself he used to hide: the fear, the memory of the hydroponics bay, the tremor that comes when he stops pretending he’s in control. The metal lifts. Not much. Enough. Hands pull bodies through. Voices say, “Go, go, go.” He holds on until holding on is all there is.

The mission doesn’t make it. The structure collapses after the evac. The launch scrubs. Kip’s arms won’t stop shaking. In the debrief, there are clipped questions and a stack of forms. He doesn’t argue his intent. He doesn’t say the word glitch. He tells exactly what he did and didn’t do. He signs the corrective plan he once refused. He knows what he’s lost. He also knows what he finally did: the right thing when it cost him.

Afterward, the world is quieter. He still jokes—he’s still Kip—but the jokes have edges he aims more carefully. He shows up early to the drills he used to call optional and stays late to help others breathe when their hands start to shake. He learns to carry his power without trying to make it look clean. He asks the rookie to walk him through her notes. She does, without meanness. He listens, and when she runs out of words, he thanks her.

A month later, he passes a poster in the corridor. Ears up, visor down, heroic stance. He doesn’t see himself in it anymore, and that no longer feels like failure. It feels like the room finally has enough air. He’s not going to Mars—not this time. Someone else will. He’s here, scuffed helmet tucked under his arm, heading into a bay that hums like a held breath. There’s work to do that doesn’t bend for charm, and he’s ready to do it. He’ll have to live with doubt; he can. He’s learned the difference between looking brave and being useful, between getting through a hatch and holding one open for somebody else.

He once wanted to be a warrior so badly he tried to skip the part where you earn it. Now, when he reaches for the weight, he doesn’t flinch from the cost. The ears are still ridiculous in a helmet. The grin still shows up sometimes without permission. But when the alarm bites the air and the wind rises, he knows what to do—and he doesn’t need a poster to prove it.

What we just did (in minutes)

  • Turned random structure into coherent intent
  • Rough-blocked Signposts
  • Meaningful Thematic Progressions per Signpost (clean, feelable movement)
  • Kept Problem pressure on (Avoid) to earn the final leap to Pursuit
  • Produced a reader-friendly synopsis
  • Grounded the arc in a name + backstory, then personalized it

All with the new Narrova flow.


Try it with the rest of the story

This was only the Main Character Throughline. In Narrova you can access the other 75%—Objective Story, Influence Character, Relationship Story—and snap the whole thing together with the same clarity. It’s all live in the latest rollout of Narrova, right now.

Happy storyforming—and see you on Mars. :rabbit::rocket:

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What subscription tier is this available on?

This is what I’m looking at.

Oh - sorry for the confusion - this would be the Storyform Builder in the new platform here:

which can be found at https://platform.dramatica.com

when you tap the module on the far right (the green one) - you would see this:

And it’s available to all tiers.

What you showed a screenshot for was the “Argument Builder” from Subtxt (even though, yes, it is still named “Storyform Builder”!) - thats where you can build a Storyform from the argument…which will be ported over to the new platform when we bring Subtxt over.

Hope that makes sense!

Thank you. I’ve just created a log in. Do I have to subscribe to both?

Welcome @dsp! You only need one subscription. You can let Jim know what Subtxt account is you, and he can tie them together:

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