Went back and re-read Jim’s article on RS and made these pictures for myself.
Picture 1: What’s the relationship between throughline concerns and benchmarks, and the static story points. What persists throughout the story?
Picture 2: How does the problem create conflict? Where does the problem come from? How is the problem seen
from different perspectives? What is the difference between different problem elements with the same name (“Faith”) ?
In my religion, they say, “Act as if ye had faith… and faith will be given to you.” IF… if we are to have faith in justice, we need only to believe in ourselves. And ACT with justice. See, I believe there is justice in our hearts. written by David Mamet. Paul Newman, The Verdict
I was surprised to see that three throughlines had their problems created by an inequity in Faith–but each throughline perspective from a different concern, raising a different issue. No wonder Dramatica produces such subtle and rich results.
(Note: trying consciously to use the language in article to describe relationships between bits defined in the story engine–and always, always, always keeping in mind THIS IS THE WOUND UP TIGHT position things start in. This whole sheet might be called “How things got to be the sorry way they are, and the problems that have resulted.”
THOUGHT: would it be useful to have intermediate Story Engine Settings that show various states in the Unwinding? Especially the end state? @jhull
story engine settings for these pictures:
Comments welcome as always. @jhull