Dramatica Software Frequently Asked Questions (FAQs)

General Questions

Q: Is Dramatica available in languages other than English? (click here)

Q: How do I build my characters using the Storyguide information I have already worked out? (click here)

Q: How do I override the program's choices for MC Domain and OC Domain? (click here)

Q: Can you skip over some of the story encoding questions to answer one's further down the list that you know or at least understand? (click here)

Q: What is the best way for a new user to approach Dramatica? (click here)

Q: When inputting in Dramatica storyencoding fields, is there a way of putting a line space in to differentiate different points? (click here)

QUESTION:

Is Dramatica available in languages other than English?

ANSWER:

Though there aren't any non-English versions of Dramatica at this time, you can use Dramatica to WRITE in your native language. We have many Spanish, French, German, and other European language users. The textual answers in Dramatica are NOT scanned or parsed so you can write them in any language.

The Dramatica terminology is difficult to translate, though we've thought about it. It's hard enough in English to describe some of these relationships, but in some languages (like Japanese) there's no words for some concepts (like Avoid). Eventually, it is our plan to translate the textual materials of Dramatica. We have not set a date for that yet.

However, if you can read English, then Dramatica can be just as useful no matter the language used to answer the storytelling materials.

QUESTION:

How do I build my characters using the Storyguide information I have already worked out?

ANSWER:

Well, the StoryGuide is designed to lead you through a PARTICULAR method of creating a story in Dramatica using archetypal characters. It is far from the only way, rather it is a guideline for how a writer MIGHT approach developing a story using Dramatica. Since you are not using archetypal characters, do not follow the specific directions in the StoryGuide. Just keep in mind that each of your complex characters must be introduced, they must interact, and then they must be "dismissed" or be shown where they stand after the interactions. It's best not to think of Dramatica telling you what you HAVE to do, particularly when it concerns objective characters. The only thing that Dramatica is concerned with (re: objective characters) is that the character elements are shown in action. Dramatica doesn't care one whit about the distribution of the character elements into characters -- that's your storytelling choice as an author.

NEW QUESTION:

How do I override the program's choices for MC Domain and OC Domain? In my estimation, the two domains for the story I'm currently working on should be switched, but as the program decided there was only one option for each of these categories, I seem to be unable to change them.

REPLY:

There actually is not an "override" command for changing Domains because the setting of the Domains is one of the most influential decisions you can make in creating a storyform. If you cannot change the Domains you have set for your Main and Obstacle Characters, then too many other appreciations are set in your storyform to allow them to be changed. All of the appreciations are linked together by complex relationships which limit how easily they can be changed. If you are telling a story about a Main Character who is primarily seen in terms of his physical activities, that is a completely different kind of story than one about a Main Character who is seen primarily in terms of their Psychological manipulations of others. As a result, changing a storyform from reflecting one kind of story to reflecting another involves changing many appreciations beyond just the MC Domain.

The best place to make this kind of change is in the Story Engine, which displays the most essential Objective Story appreciations and the most essential MC appreciations all in one window. In the Story Engine, beside each appreciation, is a little box that is supposed to look a little like a pad-lock. Click on these boxes next to the appreciations that you know are set the way you want them to be in your story (for example: Resolve, Outcome, Judgment, OS Domain--whatever you are sure is right). Then use the button to the right of the screen called "clear." This will clear all of the appreciations except for what is held in place by the locks you have set. At that point, you can use the pull down menus to select what you really want.

This can be more complicated than it sounds though. You may not realize the impact of all the selections which you locked. For example, Approach (do-er/be-er) and Mental Sex can have a strong impact on what MC Domains are available. Direction (start/stop) can too. These appreciations are also easily misinterpreted in stories, so you may have accidentally selected the opposite of what is most appropriate for your story. I recommend double checking the definitions of these appreciations and reading about their impact under the "Background" buttons in the DQS to make sure you set them the way you want to.

Another thing you should know is that you can't lock selections in the Story Engine which are in italics. You must first select them yourself and make them appear in regular type before you can lock them. Do this by simply clicking on them with your mouse.

It sounds like you have a good grip on how you see your Objective and Subjective story in Dramatica because you want to swap the Main and Obstacle Character Domains. Since these two characters represent the opposing sides of the story's central issue, it can be easy to be selecting appreciations for one when it turns out you are really describing the other. Remember that the Main Character presents the first person view of what it feels like to be in your story while the Obstacle Character is always felt by their impact on the Main Character (and thus, by the audience). We ARE the Main Character, while we WATCH the Obstacle Character and feel their influence.

NEW QUESTION:

Can you skip over some of the story encoding questions to answer one's further down the list that you know or at least understand? Also, do you have to answer all the story encoding questions, or does Dramatica fill in the blanks at a certain point?

REPLY:

Because the Dramatica Story Engine is non-linear, it is more like a Rubik's Cube of Story Elements you can twist and turn by answering questions. The pattern you create is completely in your control, yet you may not be able to predict what is going to happen on the backside of the cube after a few moves until you look to see what's there.

As a result of this holistic approach to a model of story, you can answer the questions in any order and skip over any questions you would like. As you answer questions, Dramatica fills in the answers to other questions you have already chosen by your previous answers in a round about way. When you have answered enough questions, the cube "freezes" because you have made enough choices about your pattern that only one combination of pieces can do the job. That is your Storyform.

As for filling in the encoding (storytelling), Dramatica will never do that. It can fill in the Storyforming to make sure the "cube" is accurate, but since any given dramatic appreciation (story point) can be encoded in an infinite number of ways, there is no way for Dramatica to draw on that potential without a huge database. In fact, Dramatica is not driven by database at all, but by a Story Engine which is based on the relationships among essential dramatic elements.

In contrast, at the MIT Media Lab, they have worked toward building such a mammoth database, effectively trying to create viable story structures with the electronic equivalent of one million monkeys pounding on one million typewriters. Looking to the future, someday this approach might come to work in conjunction with the story structuring capacity of Dramatica, but for now, what MIT's Cray supercomputer models need gigabytes of databases to do for Storyencoding (storytelling), Dramatica is able to do for Storyforming (structure) on your desktop with its revolutionary Story Engine core that is actually only 27 kilobytes in size! (Keep in mind, a Rubik's Cube has only 27 pieces, but creates forty trillion trillion combinations!)

NEW QUESTION:

What is the best way for a new user to approach Dramatica?

REPLY:

First and foremost, Dramatica is a theory of story. The software serves to implement aspects of the theory in a handy and practical manner. Personally, I feel that a writer using Dramatica solely to create a blueprint for a story is missing a big part of the power of the theory.

As one becomes more and more familiar with aspects of the theory, these new concepts begin to take hold in a writer's mind at a subconscious level - right where his or her creativity springs forth. In a sense, the theory explanations become subliminal patterns of thought in the author's mind that fine tune his or her writer's instincts, help him or her avoid holes in the story's logic and feeling, and offer a way around writer's blocks.

The Dramatica software can be thought of as "training wheels" in the craft of writing. When one is up to speed, the wheels can come off. Unlike riding a bike, however, one DOES forget how, in the craft of writing. This occurs because every day we assume new and different givens, become accustomed and conditioned to new ideas and environments, and as a result we lose touch with how others might view our work. If our intent is to communicate and to move our audience to feel specifically what we have in mind for their hearts, we must hone our skills in getting the message across. That's where the Dramatica software comes in.

Both Dramatica Writer's DreamKit and Dramatica Pro come with a special book called the StoryGuide. This book is designed to get new users up to speed with the theory while creating a complete scene order or chapter order treatment for a story along the way. Buy using the workbook along with a special pathway in the software, the new user can put the theory to work immediately and get to know the software at the same time. Once this path has been taken the first time, most writers will want to chart their own path through Dramatica, tailoring their use of the software tool to match their personal writing styles.

The way I use the software myself is as a periodic tune-up. I like to write the first draft of a work without using the software. Then, I go into the software and fill in all the storytelling information first. Next, I go to the Storyforming section, click the "storytelling" button and make my Storyforming choices based on what I read on the screen of my own storytelling.

I don't go through the lists in order, but rather start with the dramatic items of most importance to me in this particular story. That way, when I finally get down to storytelling I've done that doesn't fit ANY of the available Storyforming choices, it is usually not a pet concept, and I can alter my storytelling approach to fit the overall argument of my story.

Finally, when I have arrived at a complete Storyform and brought my storytelling into line, I add any additional storytelling for Storyforming items I had not addressed in my first draft. I then print out the "kitchen sink" report for a record of my ENTIRE Storyform, and use that as a reference while I write.

During the original writing process and the re-writing process then, I don't actually use Dramatica at all. I prefer to follow my instincts, once they know where they are going. For the first draft, I don't want to be hindered by analysis, no matter how accurate the feedback may be. Then, between drafts, I want to hear what Dramatica has to say. And finally, during the re-write, I again want to go with my now-refined instincts, and only refer to the "kitchen sink" report when I am at a loss. In this manner, I retain the immediacy and serendipity of my work, and still take advantage of the unique insights provided by Dramatica which keep my work honest for the audience.

The StoryGuide system that comes as a separate book with the software was designed to familiarize novice writers with many useful concepts in the Dramatica theory that should have an immediate positive impact on their skills. It is my hope that once a writer's creative feet are wet, he or she will wade out a little farther toward the deep water, leave the floats behind and take the plunge into his or her own inspirations. When one feels the currents pulling one out to sea, however, that is when Dramatica can throw out a life preserver and help you find your way back to shore.

Well, I wax poetic. Sorry! Just my muse pulling me around by the nose. In any event, thank you again for your question, and I wish you the best of luck in your writing projects, hoping Dramatica proves to be the positive and powerful writing tool you're looking for.

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NEW QUESTION:

When inputting in Dramatica storyencoding fields, is there a way of putting a line space in to differentiate different points?

REPLY:

Yes. Press SHIFT-ENTER (Windows) or SHIFT-RETURN (Mac). That will force a new line in the storyencoding text.