Dramatica Theory Book

Chapter 15: Deep Theme Theory

Deep Theme

What we have done so far is describe the Elements of Theme. Now we have to put them in motion as well.

The Thematic Argument

What moves Theme forward is the Thematic Argument. Why an argument? Because unless the audience shares the author's bias on the story's issues, it will not accept a blanket statement that the author's proposed way of dealing with a particular problem is the best. The audience really does want to be convinced - it wants to learn something useful in real life while being entertained at the same time. But, unless an author can successfully make an emotional argument supporting his bias through his Theme, he will not be able to change the heart of his audience.

Premise and the Thematic Argument

One of the most familiar attempts to describe the nature of the thematic argument relies on a concept called the premise. A premise usually takes this form: Some activity or character trait leads to a particular result or conclusion. An example of this would be Greed leads to Self-Destruction. A premise can be very useful in describing what a thematic argument is about in a nutshell, but provides very little information about how that argument will proceed.

In regard to the example above, there are many ways in which greed might lead to self-destruction. In addition, each of the four throughlines has its own view of the thematic nature of the problem, so each one needs its own thematic argument. The traditional premise looks at a story's Theme from one point of view only. If greed leads to self-destruction, is this a problem for everyone, just for the Main Character, just the Obstacle Character, or does it perhaps describe the nature and outcome of the relationship between Main and Obstacle? We simply don't have enough information to determine that. As a result, the traditional premise is fine for summing up a story, but does little to help an author create a thematic argument.

Dramatica's view of a thematic argument begins not with a conflict - the thematic conflict. Each of the throughlines has its own thematic conflict which we have already described to some degree during our discussion of Range.

The Range itself forms one side of the thematic conflict and the Counterpoint forms the other. As indicated earlier, you won't find Greed in Dramatica's thematic structure, but you will find Self-Interest. The Counterpoint for Self-Interest is the dynamically opposed to it in the chart, which is Morality. Thus, the premise of a thematic argument dealing with Greed might begin with the conflict, Self-Interest vs. Morality.

The advantage of the thematic conflict is that it spells out both sides of the thematic argument. Both Range and counterpoint must be played against one another over the course of the story if the author is to make a case that one is better than the other.