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Dramatica Theory Book
Chapter
19: The Elements of Structure -- Genre
(Continued)
How does one diversify? Assign each Domain to a different mode of expression.
A story of such a completely mixed arrangement has no single, overriding
feel to it. What it gives up in consistency, however, it gains in variety.
The Objective Story (Universe/Entertainment) would be set in some unique
or viscerally intriguing setting (perhaps a Western, the distant future,
or the dark side of the moon) in which something is amiss. In this setting
we find our Main Character (Physics/Comedy), perhaps clumsy (e.g. Inspector
Clouseau from The Pink Panther), or overly active like Ace Ventura.
Providing a nice contrast to the humorous nature of the Main Character
are the serious impact of Obstacle Character's manipulations (Psychology/Drama).
Finally, we add the Subjective Story relationship (Mind/Information) as
it describes how the Main and Obstacle Characters' fixed attitudes conflict
over "what it all means."
This is the heart of Dramatica's approach to Genre. At its most basic
level it is a choice between four modes of expression. At its most exciting
and elegant, it concerns the sophisticated relationship and dynamics that
are created when the four modes of expression, the four structural Classes,
and the four Domains are brought together. The Class/modes of expressions
grid allows authors to select Domains using their feelings and intuition.
By carefully setting these Dramatica relationships in a story, you can
create a powerful Genre experience for your audience with exactly the
impact you intended.
Finally, there is a greater depth to Dramatica theory that offers more
information about what is really going on in Genre. It may be more than
you really need to consider for your style of writing and the kinds of
stories you create. If you'd like to explore this final aspect of The
Elements of Structure, read on.
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