Uke, I want to second what LunarDynasty said. Here are a few of Dramatica’s insistent tenets that so many other theories miss:
-
Enduring stories must always have External aspects and Internal aspects. These will overlap, of course, but they are running on different “levels” (or in different throughlines).
-
The Archetypes’ functions are in the External, “upper” level of the story, where the characters focus on the Overall Story throughline (Goals, Limit, Driver, Outcome, Consequences, Prerequisites, etc.). This is where some character fulfills the Protagonist functions (especially Consider and Pursue). Which means this Protagonist “drives” the External part of the story.
-
But the Main Character’s functions are in the internal, “deeper” levels of the story. Where, via the MC’s point of view, the audience connects emotionally with the story in a personal way, and where the MC interacts closely and deeply with the story’s Influence Character. (Together, these two share the Relationship Story throughline.)
-
Yes, sometimes the Protagonist and Main Character functions can simultaneously reside in the same “player” (like Michael Dorsey in Tootsie). But other times these functions can reside in two separate “players,” like Atticus and Scout, or like Andy and Red in The Shawshank Redemption.
-
Always remember the comparison and contrast between the External and Internal parts of a thorough story. Your Grand Argument should be fought on both “levels,” in both plot and relationships, both mental and physical activities, both internal and external expressions of worldviews, perspectives, and problem-solving approaches.
-
Keep studying the successful stories analyzed here on Dramatica.com’s Analysis page, and check out the monthly podcasts (also around here) of the Dramatica Users Group. This theory is tough, but it leads you to way-better-than-average stories!