Setup, Revelation, Conflict & Aftermath

Come here to ask questions or give advice about the theory that forms the basis of Dramatica.
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Setup, Revelation, Conflict & Aftermath

Postby Geoff1975 » Nov 20, 2013 8:04 pm

Somewhere online, I read an article explaining how a scene can be split into these stages: Setup, Revelation, Conflict and Aftermath. It was probably by Melanie, but could've been by Chris. Darn. I can't find it now to look up whether the article was really referring to a scene.

I know the other four crucial elements in Dramatica, those stages of the Dramatica Circuit, can be assigned to the quad elements within a layer. I was tempted to think this could go all the way down to the Scene resolution where a Setup wouldn't necessarily be at the beginning. It could serve as the potential or current of the scene. Then again, "Aftermath" conjures up the idea of a new rest state, so I guess it's only for splitting up a scene into stages and has nothing to do with the Circuit components. One's spatial and one's linear.

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Re: Setup, Revelation, Conflict & Aftermath

Postby stephenbuck415 » Nov 20, 2013 10:55 pm

Hi Geoffrey.

This post will not answer your question, but for the benefit of others, I would like to include the screenshot from Dramtica Pro v4.0.

In DP4.0, the scene concepts of Setup, Revelation, Conflict, and Aftermath are described in:
Level Three StoryGuide > Storyweaving > Scene Creation
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Re: Setup, Revelation, Conflict & Aftermath

Postby Chris Huntley » Nov 22, 2013 10:15 am

This was originally identified as Setup, Interaction, and Aftermath, but was expanded to further describe Interaction as Revelation and Conflict to more accurately reflect the Potential, Resistance, Current, and Power or Outcome of a 'dramatic circuit'. The difference is, SRCA (Setup, Revelation, Conflict, Aftermath) is a linearly description of a scene, while PRCP or PRCO is a list of components in the scene that do not necessarily have to follow that linearity. For example, you might lead with the Outcome (A large wall with a bunch of unconscious horses laying in a pile around it), then then follow with the Potential (A runaway horse pulling a buggy), then focus on the Resistance (Someone in the buggy madly pulling on the reigns trying to stop the horses), and Current as the horse and buggy rapidly approaches the wall.

This is not a black and white matter, but tools with which to construct a dramatic scene. Experiment with it. Have fun with it.
Chris Huntley
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