Understanding the Two Sequence Perspectives

Discuss the practical use of Dramatica. Have questions about how throughlines should be used, how to create Complex Characters or even the various combinations of the 12 Essential Questions and how they will affect your story go here.
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Geoff1975
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Understanding the Two Sequence Perspectives

Postby Geoff1975 » Aug 22, 2012 4:08 pm

Hi,
I can't say I read through everything Dramatica related in search for clarification on this, but it was quite a read.
What I want to know is how Dramatica merges the thematic argument setup with the thematic structure setup.

As I understand it, there's an experiential 3 Act thematic argument of Issue compared with Counterpoint (i.e. that dynamic pair within one quad). You get six possible comparisons from these four. Two comparisons go into each Act, making three Acts. Preferably, the comparisons containing the Issue itself appear second, fourth, and sixth. This remains the constant argument for that entire throughline. Ultimately, this gives 24 parts over four Acts.
There's also a thematic statement which is more structural. You use the Plot Sequence Report to identify the four variations for each of four Acts. Each Act's Type is explored more independently (top-down) using those four variations. The type itself would be the signpost. There are four signposts/acts. The journey between each signpost is a separate part? This entire effort is repeated for each of the throughlines.
So how best to merge the two results: thematic argument with thematic statement? This is probably up to the author, but I wanted to be sure my impression of this was correct. Dramatic Theory gave a nice example with a doctor and patient scene. It had the argument, I think, be in the background and the structural part be emphasized in f.g.

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Chris Huntley
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Re: Understanding the Two Sequence Perspectives

Postby Chris Huntley » Aug 26, 2012 8:58 am

You are correct. First and foremost it is up to the author how to weave this information together in the finished work.

Secondly, each of these different methodologies do not take into consideration the other methodologies. It is up to the author to determine which methods to use or choose, emphasize, and explore. The plot, theme, and character storytelling methodologies are not all needed, but each bring a different emphasis on various aspects of the story.
Chris Huntley
Write Brothers Inc.
http://dramatica.com/
http://screenplay.com/

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Geoff1975
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Re: Understanding the Two Sequence Perspectives

Postby Geoff1975 » Sep 11, 2012 7:29 am

With concept in mind that the story engine display starts you off at rest and the plot sequence report shows how each throughline gets warped, I've tried sketching storyforms to find which factors flip and which rotate (etc) them. I'm guessing the switch from at rest to the PSR display of first act shows the inciting incident at work. Then future acts are within the same new class. I'm guessing the main character would flip one for another (what?) going into the second act. Then he'll rotate to go into the 3rd act (altering the order of what he deals with). I'd be grateful if someone could fill in what's flipping, when, etc.

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Chris Huntley
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Re: Understanding the Two Sequence Perspectives

Postby Chris Huntley » Sep 14, 2012 9:22 am

Not that simple. It is dependent on several dynamics, plus it is "mixed up" more than once based on other factors. Melanie's site, Dramaticapedia.com, has mor on the general ideas of this, but not the specifics.
Chris Huntley
Write Brothers Inc.
http://dramatica.com/
http://screenplay.com/


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