Super excited about something I extrapolated from Chris and Melanie over the years that I want to share with you.
For years, writers new to Dramatica hit the Plot Sequence/Scene abyss in the current application of the theory and wonder what happened. They see how Signposts define Acts, and they kind-of, sort-of get the Sequences identified in the Plot Sequence report, but when they get to Scenes and the Events in those scenes they find that similar supportive material is non-existent.
With my first post on [The Narrative Code Behind Scene Construction] (http://narrativefirst.com/blog/2016/09/the-narrative-code-behind-scene-construction) I hope to change all that.
We still don’t know exactly the order of Events or which one fulfills which component relationship in the dramatic circuit–however, with these four modalities of Scene Events I feel like we can get closer than we ever have before.
For years I ignored the topic because let’s face it–it’s difficult enough working four Throughlines at once, let alone one or two Plot Sequences–especially within a 105-page screenplay. But I’m starting to realize that if the “writing by numbers” that exists within the Plot Progression of Signposts or within the Plot Sequence report is productive and inspiring, why wouldn’t the same effect be felt at the Event level?
And I realize I skipped over Scenes to get right to Scene Events, but I’m pretty sure those are just the quad of Elements under each Issue in the Plot Sequence. To me, knowing the structure of a scene as seen through Dramatica is a compelling and exciting development.
In the next couple of days I’m going to go through some example scenes and explain how this all plays out. I’ve already got a couple great examples in mind.
Hope this helps you out somehow!