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Dramatica: A New Theory of Story
Dramatica: A New Theory of Story is the definitive guide to the most profoundly original and complete paradigm of story since Aristotle wrote Poetics. This book is chock-full of stunning solutions to vexing story structure and development problems that have mystified and tormented writers for ages. An absolute must read for any writer who wants to elevate the quality of their written work.
425 pages, Paperback
First published January 1, 1993
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Displaying 1 - 24 of 24 reviews
August 30, 2013
This book offers a ton (and I do mean a *ton*) of fantastic story advice. The approach to structure and theme and particularly the balance of opposing "forces" in character choices is brilliant. I highlighted the heck out of my copy, and I am very interested in downloading the software and seeing how these theories play out in factual applications.
The downside of this book, as other reviewers have mentioned, is that it is ridiculously obtuse. Some of this is due simply to the heavy theoretical topics under discussion. But I can't help but feel that a large part of this might have been simplified through a more intuitive choice of terms (or at least terms consistent with and recognizable by the rest of the writing world).
If you're willing to make your brain do some serious work, this is definitely worth a read. Once I've investigated the accompanying software (which, I should imagine, helps in simplifying and comprehending some of the concepts), I'll be able to make a more final judgment on the worth of the theory as a whole. But at this point I can say with certainty that there are, at the very least, gems of wisdom here that are worth pursuing.
The downside of this book, as other reviewers have mentioned, is that it is ridiculously obtuse. Some of this is due simply to the heavy theoretical topics under discussion. But I can't help but feel that a large part of this might have been simplified through a more intuitive choice of terms (or at least terms consistent with and recognizable by the rest of the writing world).
If you're willing to make your brain do some serious work, this is definitely worth a read. Once I've investigated the accompanying software (which, I should imagine, helps in simplifying and comprehending some of the concepts), I'll be able to make a more final judgment on the worth of the theory as a whole. But at this point I can say with certainty that there are, at the very least, gems of wisdom here that are worth pursuing.
May 8, 2013
I couldn't offer a better review than to reprint my letter of thanks to the authors:
Dear Ms. Phillips and Mr. Huntley,
As a student of storytelling, admittedly more organic, your book/theory has expanded my understanding of perspectives and throughlines, of story bio-mechanics, more than any other number of books or experiences. My novel, and sequel manuscript, have gone from flat to full, in record time, a little exaggeration - not much. I can not say I am familiar with the nuance of all 64 boxes yet, excuse the juvenile description, but its been like stepping out of the dark.
The theory has served more than as a writing tool for me. I find myself applying the principles even to real life situations, and taking/using the perspective of various characters, as the story's perceived and as what's perceived as needed to fix it, to influence the narrative and the outcome. Does that sound nuts? It actually works. I'm not there yet, writing my own story, and never will be I'm certain, but to aspire.
Most importantly, you guys have showed me what people really want. - We all want a good story, well told. We want it in the books we read and the movies we watch. We want it in the products we buy and services we receive, the affiliations we maintain and interests we pursue. We want it in the life we live. But more than want, we need stories. Stories are how we learn and understand, how we analyze and formulate decision making strategies (now experimentally proven). Stories are how we make ourselves understood, how we discuss and advance thought. How we win others to our viewpoint, to favorable assessment at least.
Thanks again
Dear Ms. Phillips and Mr. Huntley,
As a student of storytelling, admittedly more organic, your book/theory has expanded my understanding of perspectives and throughlines, of story bio-mechanics, more than any other number of books or experiences. My novel, and sequel manuscript, have gone from flat to full, in record time, a little exaggeration - not much. I can not say I am familiar with the nuance of all 64 boxes yet, excuse the juvenile description, but its been like stepping out of the dark.
The theory has served more than as a writing tool for me. I find myself applying the principles even to real life situations, and taking/using the perspective of various characters, as the story's perceived and as what's perceived as needed to fix it, to influence the narrative and the outcome. Does that sound nuts? It actually works. I'm not there yet, writing my own story, and never will be I'm certain, but to aspire.
Most importantly, you guys have showed me what people really want. - We all want a good story, well told. We want it in the books we read and the movies we watch. We want it in the products we buy and services we receive, the affiliations we maintain and interests we pursue. We want it in the life we live. But more than want, we need stories. Stories are how we learn and understand, how we analyze and formulate decision making strategies (now experimentally proven). Stories are how we make ourselves understood, how we discuss and advance thought. How we win others to our viewpoint, to favorable assessment at least.
Thanks again
December 3, 2013
It starts pretty good, with its concepts of Characters and various archetypes, getting into Complex Characters, and all the while giving examples with Star Wars, Wizard of Oz etc, it has you nodding and thinking wow this is pretty cool, even maybe a few "aha" moments.
Then..... the "chess set" appears. Followed by the 4D characters, and the "a complete story must have all 64 elements" stuff.... Then your off into that 4 Classes, which drill down and down into 64 Variations. Which are kind of the same as Elements, but not, but are. When you start to read the stuff about Plot structure, holy craps its like some sort of labyrinth that would baffle even the Minotaur himself. Oh and they talk about how Dramatica works as both a 3 and 4 act structure, and then proceed to confuse the crap out of you by referring to both constantly. Pick one and stick with it!
The last 3rd of the book is just definitions of Dramatica terminology, which isn't nearly as helpful as I thought it would be (ie give me an A-Z of Elements, then an A-Z of Variations and so on, so its easier to lookup).
Honestly, I feel like there is some pretty good theory hiding in there, but I'm convinced the authors simply lack the skill in technical writing to pull it off. And thats what the book is trying to be, very technical in its approach. For this, its fails.
Two stars, because you can surely extract some useful info from it, and hey its free.
One other warning. The two creators of Dramatica, Melanie Anne Phillips & Chris Huntley, haven't even got a single published novel between them! Just some failed indie movie. Yet they run sites selling overpriced old software* and teaching story theory classes?... If I'd paid them any money, I call it a scam.
* Their "Dramatica Pro 4" software is stupidly overpriced, very old circa 2001, with a clunky UI. eg: It doesn't scale to typical high resolutions of today so the windows and text is tiny, it doesn't even understand mouse-wheel scrolling... bleh. I could rewrite the whole thing in about 2 weeks I bet and give it a modern, sleek GUI. Download the demo and you'll see what I mean (or rather, don't bother)
Then..... the "chess set" appears. Followed by the 4D characters, and the "a complete story must have all 64 elements" stuff.... Then your off into that 4 Classes, which drill down and down into 64 Variations. Which are kind of the same as Elements, but not, but are. When you start to read the stuff about Plot structure, holy craps its like some sort of labyrinth that would baffle even the Minotaur himself. Oh and they talk about how Dramatica works as both a 3 and 4 act structure, and then proceed to confuse the crap out of you by referring to both constantly. Pick one and stick with it!
The last 3rd of the book is just definitions of Dramatica terminology, which isn't nearly as helpful as I thought it would be (ie give me an A-Z of Elements, then an A-Z of Variations and so on, so its easier to lookup).
Honestly, I feel like there is some pretty good theory hiding in there, but I'm convinced the authors simply lack the skill in technical writing to pull it off. And thats what the book is trying to be, very technical in its approach. For this, its fails.
Two stars, because you can surely extract some useful info from it, and hey its free.
One other warning. The two creators of Dramatica, Melanie Anne Phillips & Chris Huntley, haven't even got a single published novel between them! Just some failed indie movie. Yet they run sites selling overpriced old software* and teaching story theory classes?... If I'd paid them any money, I call it a scam.
* Their "Dramatica Pro 4" software is stupidly overpriced, very old circa 2001, with a clunky UI. eg: It doesn't scale to typical high resolutions of today so the windows and text is tiny, it doesn't even understand mouse-wheel scrolling... bleh. I could rewrite the whole thing in about 2 weeks I bet and give it a modern, sleek GUI. Download the demo and you'll see what I mean (or rather, don't bother)
February 10, 2017
Well, that was a mammoth of a book!
Not that much because it is big but because it is very theoretical and has a plethora of terms. It reads like a course book, which I believe, is how it all started.
But let that not deter you. This is a very insightful book. If you want to know more about stories and their universal structure and basic elements, then this is a book for you.
I had so many "aha" moments while reading this book. And although I cannot say the Dramatica theory in its entirety is a practical way to develop stories, it does give a good framework for troubleshooting problematic stories and improving already developed ones. I will definitely adopt a few techniques from it.
So, overall, I'm glad I read this book, despite its complexity. I might even review it again someday.
Not that much because it is big but because it is very theoretical and has a plethora of terms. It reads like a course book, which I believe, is how it all started.
But let that not deter you. This is a very insightful book. If you want to know more about stories and their universal structure and basic elements, then this is a book for you.
I had so many "aha" moments while reading this book. And although I cannot say the Dramatica theory in its entirety is a practical way to develop stories, it does give a good framework for troubleshooting problematic stories and improving already developed ones. I will definitely adopt a few techniques from it.
So, overall, I'm glad I read this book, despite its complexity. I might even review it again someday.
April 4, 2012
This is an excellent book on narrative and story structure. Very detailed and very technical but well worth the effort if you're a serious reader, critic or writer. It goes into much more extensive detail than books like Mckee's Story and explores the full range of logical options available to the writer or presented to the reader over the course of a story.
February 28, 2014
Some really VERY important ideas for the aspiring writer. Perhaps too much detail to grasp in one sitting, and more detail than a writer ever needs. However, if you want to get an original perspective on what creative/dramatic writing is, i suggest you read it.
(well, at least it's free online, so why not read it ;))
(well, at least it's free online, so why not read it ;))
Read
February 4, 2022
6/27/2021:
okay as a brainless type-a asshole, i love the idea of dramatica, but i think it really struggles with putting theory into practice. like, okay, just off the top of my head: phillips keeps trying to argue that ebeneezer scrooge is a "start" character rather than a "stop" character, but doesn't do this very convincingly. doesn't scrooge actively prevent bob cratchit from having christmas day off to be with his family? isn't that, like, his iconic act of heartlessness? doesn't he refuse dinner invitations and chances to give alms? doesn't his fiancee break things off because he loves money too much? isn't that active? isn't his problem that his miserly ways are actively hurting people and he needs to cut it out already? or, okay, maybe his miserliness is just the hole where his generosity should be, and once it's full up, his story is complete. but isn't that so arbitrary? you could look at anything this dualistically. how do you know when you've stumbled into the right story form? does it matter? and is this really the system that will take you from an idea to a fully-encoded grand story?
phillips argues that the nebulousness of the dramatica system is only ever a fault of the english language and not the system, but i think half the time the system is trying to cram its examples into a too-small slipper. the whole book is full of these discrepancies. i don't know.
7/26/2021:
me, still hacking away trying to make dramatica work for me
November 22, 2013
A heavily theoretical text designed to accompany the Dramatica Pro writing program. The theory begins deep and overwhelming but presents a very satisfied and well-developed argument for a particular class of story-telling.
Especially nice for admitting that this theory doesn't have all the answers, especially for stories outside of the program's genre. Many writing books claim to be 'THE LAST BOOK YOU'LL EVER NEED TO READ ABOUT WRITING EVER', and this theoretical, more academic approach provides a refreshing change.
Especially nice for admitting that this theory doesn't have all the answers, especially for stories outside of the program's genre. Many writing books claim to be 'THE LAST BOOK YOU'LL EVER NEED TO READ ABOUT WRITING EVER', and this theoretical, more academic approach provides a refreshing change.
July 4, 2014
There is a lot to learn about the writers program and this book has more confusing information than I could deal with. This is something that needs to be digested in small small bites. If you want to get your screenplay up to a higher level, this book will help you get there but take it slow.
May 19, 2014
Brillant, plodding, overly complicated, theory of Story. If you aren't interested in story writing this manual makes a great counseling book.
March 20, 2022
A very thorough framework for understanding story structure.
I think this is a much better framework compared to the Hero's Journey or other story structures, accounting for types of stories that don't fit those traditional formats.
It's also one of the few frameworks that clarifies how the secondary and tertiary stories are inter-weaved with the main story; compare that to Save the Cat!, which has a rigid secondary story attached.
Incredibly dry and dense though, I had to take a lot of notes and re-read it several times to understand.
It's good that the website had examples to compare against, along with a blog that clarifies additional uncertainties.
Dramatica introduces a lot of new terms and definitions, which can get confusing. But the way the chapters are written, they don't always introduce the new terms but use them immediately, forcing me to have the glossary opened up on another browser tab to understand it.
The chapters also have a habit of repeating itself. While I understand the need for it, it also makes it harder to follow.
And some of the chapter structures are confusing, as it goes through explaining side-details and not coming back to the original topic of the chapter. Other times the chapter skimps on details needed to apply the topic and I have to read the blog to understand it better.
Even with these problems, I still have to give Dramatica full marks. It is a really powerful and flexible framework for structuring stories.
I think this is a much better framework compared to the Hero's Journey or other story structures, accounting for types of stories that don't fit those traditional formats.
It's also one of the few frameworks that clarifies how the secondary and tertiary stories are inter-weaved with the main story; compare that to Save the Cat!, which has a rigid secondary story attached.
Incredibly dry and dense though, I had to take a lot of notes and re-read it several times to understand.
It's good that the website had examples to compare against, along with a blog that clarifies additional uncertainties.
Dramatica introduces a lot of new terms and definitions, which can get confusing. But the way the chapters are written, they don't always introduce the new terms but use them immediately, forcing me to have the glossary opened up on another browser tab to understand it.
The chapters also have a habit of repeating itself. While I understand the need for it, it also makes it harder to follow.
And some of the chapter structures are confusing, as it goes through explaining side-details and not coming back to the original topic of the chapter. Other times the chapter skimps on details needed to apply the topic and I have to read the blog to understand it better.
Even with these problems, I still have to give Dramatica full marks. It is a really powerful and flexible framework for structuring stories.
April 15, 2018
I like Dramatica a whole lot. And I want to give this book a much higher rating, though without better flow I have difficulty doing that.
In short, Dramatica's story model is this. There is a central question which is being asked. A 'story' is the process of analyzing that question. If all possible angles (physical, emotional, intellectual) are reviewed we, as an audience, consider it a good story.
The book seemed to be fighting the old order while presenting its version of what a story is. A story, from a conceptual point of view, is quite a complex device. As such any technical discussion regarding the interior structure of a story and its interaction within a society is going to be a complex task.
There is a real neat article on the company's website comparing Dramatica and several other story models. That really is a must read article.
In short, Dramatica's story model is this. There is a central question which is being asked. A 'story' is the process of analyzing that question. If all possible angles (physical, emotional, intellectual) are reviewed we, as an audience, consider it a good story.
The book seemed to be fighting the old order while presenting its version of what a story is. A story, from a conceptual point of view, is quite a complex device. As such any technical discussion regarding the interior structure of a story and its interaction within a society is going to be a complex task.
There is a real neat article on the company's website comparing Dramatica and several other story models. That really is a must read article.
April 25, 2024
I was floored by how comprehensively this took an anchor of character mind and story throughlines and broke it into deep recursive permutations of narrative flow. What's more, it's structured in a digestibly discrete format that's actually programmatically reproducible.
Categorically breaks down story structure through bridging character and plot through theme. A non-linear take on storytelling and breath of fresh air from abstract concepts that commonly inundate qualitative disciplines such as story science. Highly recommend to anyone who's interested in taking up fiction writing.
Categorically breaks down story structure through bridging character and plot through theme. A non-linear take on storytelling and breath of fresh air from abstract concepts that commonly inundate qualitative disciplines such as story science. Highly recommend to anyone who's interested in taking up fiction writing.
August 20, 2018
I like to think of Dramatica like the three layer chess game in Star Trek: TNG. Its an in-depth way to approach storytelling. May not be for everyone, sure wasn't for me. I finished the book and tried for days to apply what I read.
It didn't happen but it was a learning experience never the less.
It didn't happen but it was a learning experience never the less.
December 18, 2020
The epitome of "you get out of it what you put into it."
This framework forces you with rack and tongs to think laterally, and that's worth its weight in raw and beating human heart.
If you can withstand the hundreds of pages adamant egomania.
This framework forces you with rack and tongs to think laterally, and that's worth its weight in raw and beating human heart.
If you can withstand the hundreds of pages adamant egomania.
August 5, 2022
Oh my gosh, finally a thorough, robust, step-by-step understanding of story and how to craft it. Intense to read and understand, and wildly unique, it may not be for everybody but I can't wait to see if this theory works for my writing.
September 5, 2020
This rating is about the software that is associated with the book - I'm giving the software 4 stars.
May 24, 2015
First off, it's free online. And I have to say that really like the core theory. I enjoyed how the concepts are illustrated with familiar movies:
Star Wars
,
Gone With the Wind
,
Wizard of Oz
,
Jaws
, etc. This can be helpful, even for novelists, since it makes use of passive entertainments most of us have grown up with.
I found its core archetypes useful. And they are gender-neutral. For instance, the authors use the label "Sage" instead of "Wise Old Man." That is useful.
I also like the distinction they draw between the protagonist and the main character. When they are combined, you get a hero or anti-heros. For instance, Indiana Jones is a hero, and American Psycho paints an anti-hero. But in the The Great Gatsby , these "roles" are separated. Gatsby is the protagonist, and Nick the main character, through whose eyes the story is told.
And I used the core distinctions between the eight main archetypes to analyze and strengthen a book I am working on.
The problem is that the theory is too complex. Eight core archetypes grows into 64 sub-archetypes. And the "story" is deconstructed so that there are four distinct story lines. And then those lines are divided across 4 realms, which makes 16...
I think you get the point. Excellent ideas overwrought. Still, very useful to get you thinking "How do I tell the story I want to tell most effectively?"
I found its core archetypes useful. And they are gender-neutral. For instance, the authors use the label "Sage" instead of "Wise Old Man." That is useful.
I also like the distinction they draw between the protagonist and the main character. When they are combined, you get a hero or anti-heros. For instance, Indiana Jones is a hero, and American Psycho paints an anti-hero. But in the The Great Gatsby , these "roles" are separated. Gatsby is the protagonist, and Nick the main character, through whose eyes the story is told.
And I used the core distinctions between the eight main archetypes to analyze and strengthen a book I am working on.
The problem is that the theory is too complex. Eight core archetypes grows into 64 sub-archetypes. And the "story" is deconstructed so that there are four distinct story lines. And then those lines are divided across 4 realms, which makes 16...
I think you get the point. Excellent ideas overwrought. Still, very useful to get you thinking "How do I tell the story I want to tell most effectively?"
October 22, 2007
Once the new terminology is grasped, the theory becomes much more accessible. I find myself analyzing all new films and shows I view through the lens of Dramatica.
My initial run through the software has been daunting at times. It's been strange to have to reign in the horses of my creativity as opposed to letting them roam free. Ultimately, I think the time and energy invested will prove worthwhile by minimizing the necessity of multiple re-writes.
My initial run through the software has been daunting at times. It's been strange to have to reign in the horses of my creativity as opposed to letting them roam free. Ultimately, I think the time and energy invested will prove worthwhile by minimizing the necessity of multiple re-writes.
May 2, 2016
This story theory is hard to comprehend and very obtuse simultaneously. I need some time to process everything I learned and I do not yet know how useful it will be. But something tells me that there is a treasure hidden inside, if only I can get my head around the unlock code.
Meanwhile, none of the concepts in this book are difficult or badly explained. It is just the overall concept and the application that confuses the hell out of me.
Meanwhile, none of the concepts in this book are difficult or badly explained. It is just the overall concept and the application that confuses the hell out of me.
January 24, 2013
This book has lots of great information. It helped me to understand structure in stories. However, I found it very had to understand how to apply it to my own writing. It's definitely not a how to book.
May 12, 2016
It is an interesting theory about plotlines and narrative. I liked the boldness and the marketing, that mistery "we dramatica" stuff.
I rather read Genette, but it gave me things to think about, like the four main storylines thing.
I rather read Genette, but it gave me things to think about, like the four main storylines thing.
August 16, 2017
Great exploration of a multi-dimensional approach to screenplay story development that includes many parallels to Integral Theory. Definitely worth the read for screenwriters.
March 17, 2013
Great for writers and readers alike who wish to understand the depth of story telling.
Displaying 1 - 24 of 24 reviews