Writing help for Acts, Sequences, Scenes and Elements

questions
#1

There is one thing that I have a hard time getting my head around when I actually start to write using Dramatica. I understand that there are 4 Acts and 4 Sequences within those Acts and 4 Scenes within those Sequences and that those Scenes are made up of Events. I am writing a novel.

So here is what that might look like in an outline from the 1st Act of the MC which is from the Plot Sequence Report.

MC The Present - “the current situation and circumstances” (The Present) is explored in terms of:
I’ve listed the Variations with the Elements that fall under each of them in parentheses.
Preconception (Controlled, Hinder, Help, Uncontrolled)
Openness (Consideration, Faith, Disbelief, Reconsider)
Choice (Logic, Conscience, Temptation, Feeling)
Delay (Pursuit, Support, Oppose, Avoid)

Sequence 1
Scene 1
Event 1
Event 2
Event 3
Event 4
Scene 2
Event 1
Event 2
Event 3
Event 4
Scene 3
Event 1
Event 2
Event 3
Event 4
Scene 4
Event 1
Event 2
Event 3
Event 4

Continue as above for 3 more Sequences to complete Act 1 for the MC:

Here are my questions:

  1. Is each Sequence tied to one Variation and each Scene under that tied to the Elements used to discuss that particular Variation?
  2. I’m assuming if that is true it is up to me to determine the order of the Sequences in the Act. Does it mean that a Scene from say Sequence 1 could appear in Sequence 2 or should they all be self-contained within the Sequence of a single Variation?
  3. The Characteristics that describe Motivation, Purpose, Evaluation and Methodology. Are those used in relationship to the characters that would be involved in expressing the above points of view?
  4. I’m assuming that each of the characteristics would need to be expressed in each character by story end.
    Thanks,
    Paul
#2

Hey Paul,

I’m a fellow novelist and dramatica-user, so maybe I can help.

ONE: Short answer: no.

Long answer: I find that the variations feel more like scenes than sequences; or, I suppose, like a small series of scenes. I.e. "here’s a scene about preconception (or a few scenes that deal with it in a row). Although it’s worth keeping in mind that these terms are pretty vague, and mostly boil down to “a unit of story in which X is dealt with.”

I wouldn’t recommend worrying too much about the element level now, and I doubt each element would warrant an entire scene being written about it anyway. Remember, story structure is a tool, not a Bible. You don’t have to adhere to it that strictly, and if you try to you will probably wind up undermining the strength of your story.

TWO: It is up to you what order in which you present the elements of your story to your reader. So long as they can follow the chronology of what’s happening, you should be fine.

But it’s worth remembering that from a story theory POV, all four throughlines and everything in them unfold concurrently. I.e. scene 1 in the MC throughline should hypothetically be taking place at exactly the same time as scene 1 in the OS. Of course, in practice this gets a little lax, especially in novels, because we as human beings can only focus on one thing at a time, which necessitates presenting one of those scenes “first.” But when I’ve really got a story working, I often find that this weaving process happens quite naturally.

THREE: Okay, so this is a bit confusing, but the characteristics only really apply in the OS. They represent different methods, motives, etc held by the various characters towards achieving the overall story goal. So yes, in the OS, these characters do indeed need to be involved in expressing those points of view in order for the argument being made by the story to feel complete.

However, these characteristics assignments are not of much use in the other three throughlines, because those concern the interactions of the main and influence characters with each other, each of whom possesses a complete set of all 64 characteristics of their own. So while an MC might be reminded of (or even prompted by) the characters in the OS and the elements they represent while solving problems in the MC or RS throughlines, those objective characters do not hold any real sway over how the RS, MC and IC throughlines operate.

Sorry.

FOUR: Each of these characteristics will be represented throughout the OS throughline, whenever they are called upon by you, the author, to do so. Remember, storytelling is a dynamic process. It’s best not to treat your objective characters like boxes that need only be checked off once. They will each assert and reassert the positions that they hold many times, and often with increasing fervor as the story progresses and the OS consequences approach.

Hope that helps!

~Audrey

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#3

Audrey,
Thanks! Very helpful.
Paul