Dramatica Theory Book

Chapter 21: Stage One -- Storyforming (Continued)

Communication

Looking at the finished story, we can tell two things right off the bat. First, there is a certain logistic dramatic structure to the work. Second, that structure is expressed in a particular way. In Dramatica, we call that underlying deep dramatic structure a Storyform. The manner in which it is communicated is the Storytelling.

As an example of how the Storyform differs from the Storytelling, consider Romeo and Juliet and West Side Story. It is easily seen that dramatics of both stories are essentially the same. Yet the expression of those dramatics is completely different. Storytelling dresses the dramatics in different clothes, couches the message in specific contexts, and brings additional non-structure material to the work.

The structure of a story is like a vacant apartment. Everything is functional, but it doesn't have a personality until someone moves in. Over the years, any number of people might occupy the same rooms, working within the same functionality but making the environment uniquely their own. Similarly, the same dramatic structures have been around for a long time. Yet, every time we dress them up in a way we haven't seen before, they become new again. So, part of what we find in a finished work is the actual Grand Argument Story and part is the Storytelling.

The problems most writers face arise from the fact that the creative process works on both storyform and storytelling at the same time. The two become inseparably blended, so trying to figure out what really needs to be fixed is like trying to determine the recipe for quiche from the finished pie. It can be done, but it is tough work. What is worse, an author's personal tastes and assumptions often blind him to some of the obvious flaws in the work, while over-emphasizing others. This can leave an author running around in circles, getting nowhere.

Fortunately, another pathway exists. Because the eventual storyform outlines all of the essential feelings and logic that will be generated by a story, an author can begin by creating a storyform first. Then, all that follows will work together for it is built on a consistent and solid foundation.

To create a storyform, an author will need to make decisions about the kinds of topics he wishes to explore and the kinds of impact he wishes to have on his audience. This can sometimes be a daunting task. Most authors prefer to stumble into the answers to these questions during the writing process, rather than deliberate over them in advance. Still, with a little consideration up front, much grief can be prevented later on as the story develops.