@narrativebeast wrote:
1. Is there any place / resource anyone here could recommend to help use dramatica to write romance novels?
I did a search and on the official dramatica website I saw one article that mentioned the 'Dram Girls' yahoo group that is a private discussion group that talks about writing romances with dramatica but when I go to the link (shown below)
all it says is that I'm not a member and I can't find anywhere how to join or even find out if its even still an active forum.
LINK: https://groups.yahoo.com/neo/groups/dram_girls/info
I've been watching the movies that are covered in the dramatica podcasts (trying to analyze the stories and then check my work with the storm forms on the dramatic site and then listen to the podcasts) and reading everything I can on narrativefirst to educate myself about dramatica generally. Ect.
But I was hoping there was some resource that could specifically help me with the romance genre.
2. For example one thing I'm having trouble with. Where as most movies seem to focus 50%+ on the 'Overall Throughline' - popular romances focus like 90% of their pages on the 'Relationship Throughline'.
That being said, I've heard that while Dramatica doesn't allow it officially in the software, technically the theory allows for the 'Story Goal' to be aligned not just with the 'Overall Story' but could be connected with the 'Relationship Throughline'.
Couldn't I have these story points below all be connected with the relationship throughline? I would still have an 'Overall Throughline' in the story but it would be very lightly drawn and at most be 5-15% of the book. The story points below seem excessive for a part of the story that really won't be the focus of the novel.
And by that I mean - (GOAL, CONSEQUENCE, COST, DIVIDEND, REQUIREMENT, PREREQUISITE, PRECONDITIONS, FOREWARNINGS) is quite a extra bit of story data for something that won't be a big part of the book.
Wasn't the idea that the story 'GOAL' and the follow points are extra story points and technically should go to the throughline that is the focus of the story.
GOAL
CONSEQUENCE
COST
DIVIDEND
REQUIREMENT
PREREQUISITE
PRECONDITIONS
FOREWARNINGS
For example, if your writing an action story with primarily a lot of focus on the 'OVERALL THROUGHLINE' then the 'GOAL' 'COST' 'DIVIDEND' ectera should be attached to it.
If you were writing a character study and the majority of the book would be focused on the main characters personal problems wouldn't you want to attach the: (GOAL, CONSEQUENCE, COST, DIVIDEND, REQUIREMENT, PREREQUISITE, PRECONDITIONS, FOREWARNINGS) to the 'MAIN CHARACTER THROUGHLINE'
Also the objective characters (Not impact and main characters) when in a scene are often talking about, judging, hindering, ect - the developing relationship (romance) between the impact and main character.
3. How do you handle objective characters when it comes to them dealing with something outside the 'OVERALL THROUGHLINE'
In the last romance I read for example. The 'OVERALL THROUGHLINE' concerns winning a legal case for a client that is being sued by employees in a class action lawsuit.
Now 50-80% of the time the side characters (objective characters) are doing things to not hinder, help, support, oppose, disbelief in regard to the case but in regards to the romance relationship between the couple.
For example the Ex-boyfriend threatens to show a sex tape in public if the girl dates the new love interest and doesn't come back to him.
The secretary at the law firm constantly talks with the girl how she feels about about the love interest and talks about how even though he can come off as arrogant he really does have a good heart and has feelings for her.
4. Also it seems in most of the romance novels that I've read both the main character and impact character change. Based on what I've read on narrative first. Whether the main character changes their approach (perspective) is all that matters and whether that impact/influence character had an effect on their resolve. Whether you show the impact character adopt a new perspective is purely story telling and isn't a part of the story form and you can go either way.
Quote - Narrativefirst
"understanding the true role of the Influence Character within the structure of a story and how it is their influence that should be judged, not their personal resolve"
LINK: http://narrativefirst.com/articles/flipping-perspectives
Because based on the old way of understanding it, most of their romances would be doing it wrong. But that doesn't feel quite right. And based on the narrativefirst article above. The way I'm reading it is that it is perfectly acceptable to have both the main and impact character move or budge on their perspectives but whether the main character changes their resolve or not is the only one that the storyform cares about.
Generically. The girl is usually too risk adverse. She plays too much by the rules. Forsakes her real passions or desires like going into a career she doesn't want because she feels expected to be a certain way. By the end shes' become more outspoken. Stands up for herself and lives life more on her terms and has often abandoned her old career or other unhappy situation.
While at the same time the guy had matured and become more respectful and less of an arrogant, disrespectful jerk. Usually the happy ever after has him take on responsibility and give up his man whoring ways.
I.E They both change perspectives. I'm taking it that is okay to do and still have a strong storyform?
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