Understanding the Storyform

A Storyform in Dramatica theory is the complete, structured representation of a story’s thematic and narrative argument. It ensures thematic coherence across all four throughlines—the Objective Story (OS), Main Character (MC), Influence Character (IC), and Relationship Story (RS)—guiding storytellers to create meaningful and resonant narratives.

Storyform structure has two layers: knowledge (Storypoints) and time (Storybeats, Progressions, Events). Narrova is optimized for the knowledge layer, so Domains through Problem, Symptom, Response, and Catalysts or Inhibitors tend to be the most reliable signals of the story's argument. The time layer is more exploratory and can shift without changing the core meaning, and a fully enterable Storyform may require stricter sequencing than a draft. Treat Storypoints as primary and use the time layer for iteration and experimentation.

The Storyform Components

Appreciations

Appreciations are the structural Storypoints that define the meaning of a Storyform. They are the fixed choices that describe what each Throughline is about and how the argument resolves.

Examples and what they mean for a Storyform:

• Objective Story Domain: Physics — the Objective Story conflict is rooted in activity, processes, and doing. The Storyform’s plot argument will emphasize actions and consequences rather than fixed states.
• Main Character Concern: Memory — the Main Character Throughline centers on the past, recollection, and what is remembered. The Storyform expects the personal conflict to be tied to memory, not present-day logistics.
• Relationship Story Problem: Control — the Relationship Story inequity comes from control. The Storyform’s relationship argument turns on who controls, who resists, and the cost of that pressure.

Narrative Functions

Narrative Functions are the specific conflict units inside a Storyform (the Type and Element level). They are the moving parts that create the motion from one Storybeat to the next and give each scene its directional pressure.

Examples and what they mean for a Storyform:

• Pursuit — a Storyform that highlights Pursuit in an Objective Story quad will lean on active chasing, escalation, and forward momentum as the story’s external pressure.
• Avoid — when Avoid is emphasized, the Storyform expects evasions and sidestepping to drive the conflict beats rather than direct confrontation.
• Consider — a Storyform that leans on Consider in the Main Character Throughline will foreground deliberation and internal weighing of options as the key expression of conflict.

InstantScene

InstantScene is a focused way to draft a scene from a single quad of Narrative Functions. It takes the four child functions under a Storypoint (or Element quad), pairs each with an Illustration, and presents a quick micro-arc you can write immediately. It does not represent a full Storyform; it shows one concentrated slice of the argument so you can test how the Narrative Functions feel in storytelling before expanding to the larger structure.

Pivotal Elements

Pivotal Elements are the Main Character and Influence Character Elements that lock the core argument of a Storyform. They define the central push-pull between the MC and IC and clarify the story’s thematic leverage.

Examples and what they mean for a Storyform:

• MC Element: Faith / IC Element: Disbelief — the Storyform’s central tension becomes trust versus skepticism. The argument tests whether belief holds under pressure.
• MC Element: Control / IC Element: Uncontrolled — the Storyform revolves around managing outcomes versus letting chaos surface. The conflict pressures the MC to release control or double down.
• MC Element: Conscience / IC Element: Temptation — the Storyform’s core argument tests moral restraint against the pull of desire, shaping how the MC and IC clash over choices.

Key Principles of the Storyform

Domains in Conflict

In Dramatica, Domains represent broad areas of conflict that shape the narrative perspective. To maintain thematic balance and dramatic tension, the Domains assigned to each throughline must exist as diagonal Dynamic Pairs:

• The Main Character (MC) and Influence Character (IC) Domains must be diagonal to each other, ensuring a balanced exploration of internal vs. external and state vs. process conflicts between "You" and "I."
• Similarly, the Objective Story (OS) and Relationship Story (RS) Domains must also be diagonal Dynamic Pairs, maintaining thematic coherence between the collective experiences of "Them" and the personal dynamics of "Us."

These arrangements guarantee that each perspective meaningfully contrasts and complements the others, deepening the thematic resonance of the narrative.

Additionally, the alignment of Domains influences MC Growth:

• If MC Growth is "Stop," both OS and MC Domains must be either external or internal.
• If MC Growth is "Start," the OS and MC Domains must differ—one external, the other internal—to create effective thematic tension and narrative progression.

Thematic Families: Concerns and Benchmarks

Thematic coherence is maintained by grouping Concerns into thematic families: Foundations, Functions, Destinations, or Deliberations. Selecting a Pivotal Element determines the thematic family of the Concerns across all throughlines. However, Benchmarks—since they serve as measures of thematic conflict rather than sources of conflict—are aligned to a different family, distinct from the one determined by the Pivotal Element.

Signposts

Signposts outline the narrative progression within each throughline and should ideally be calculated after all other story elements are finalized. Attempting to define Signposts too early in the story development process may lead to inconsistencies or thematic mis-alignments.

Example Rules Applied

• MC Growth:

  • Stop: Both OS and MC Domains must either both be external or internal.
  • Start: OS and MC Domains must be opposite—one external, the other internal.

• MC Concern:

  • Must align thematically within a consistent family across all throughlines.

• Benchmarks:

  • Must also align within the same thematic family to maintain narrative coherence.

Balancing Multiple Storyforms

When a story incorporates multiple Storyforms, it requires careful consideration of screen time or page length to ensure each Storyform is fully realized. Each Storyform represents a complete narrative argument, so balancing their development is essential to maintain clarity and audience engagement.

Questions to Consider

To determine whether your story involves multiple Storyforms or just one, ask:

1. Are all characters exploring the same thematic issues and narrative questions?

   • If yes, it’s likely a single Storyform shared across different sets of characters. In this case:

     • Identify the overarching Storyform.
     • Create different Perspectives for each group of characters, giving them their unique "take" on the Objective Story Throughline.
     • Typically, one pair will stand out clearly as the Main Character (MC) and Influence Character (IC)—or these roles can be handed off as the story progresses.

2. Are the thematic explorations distinct enough to warrant separate Storyforms?

   • If yes, you’re working with multiple Storyforms. Here, the challenge is to structure them cohesively while managing information delivery effectively.

Screen Time and Complexity

Multiple Storyforms demand additional narrative time to develop fully, often resulting in films with extended runtimes. Examples include:

• The Empire Strikes Back: 124 minutes
• Raiders of the Lost Ark: 115 minutes
• As Good As It Gets: 139 minutes
• Jerry Maguire: 138 minutes
• Barbie: 114 minutes
• RRR: 182 minutes

Single-Storyform films, focusing on one cohesive thematic argument, typically run shorter:

• Casablanca: 102 minutes
• Top Gun: 110 minutes
• The Lion King: 88 minutes
• The Terminator: 107 minutes
• Whale Rider: 101 minutes

Notable Exceptions and Hand-offs

Some films approaching the 120-minute mark manage narrative complexity through perspective “hand-offs”:

• The Incredibles: 114 minutes, utilizes hand-offs of MC/IC Perspectives to increase narrative complexity.
• The Lion King: At 88 minutes, its completeness as a Storyform is sometimes debated, suggesting certain thematic elements may not fully resolve.

Aspects of the Storyform

A complete narrative blueprint comprised of 75 interconnected aspects that collectively communicate the author's intended message clearly and effectively to the audience.

Dynamics

Though presented as binary choices, these represent a spectrum of movement within each dimension:

• Resolve: Change ↔ Steadfast

  • Reflects a character's alteration or retention of their fundamental nature.

• Growth: Stop ↔ Start

  • Indicates if the character moves toward stopping a behavior or initiating a new one.

• Approach: Do-er ↔ Be-er

  • Describes whether a character seeks solutions externally or internally.

• Problem-Solving: Linear ↔ Holistic

  • Defines the character's reasoning method as either logical and sequential or intuitive and relational.

• Driver: Action ↔ Decision

  • Identifies whether actions compel decisions or decisions prompt actions.

• Limit: Options ↔ Time

  • Determines if the climax is forced by exhausted options or a looming deadline.

• Outcome: Success ↔ Failure

  • Reveals if the original story goal is ultimately achieved.

• Judgment: Good ↔ Bad

  • Assesses if the main character resolves their personal dilemma satisfactorily.

Storypoints

Essential thematic elements occurring uniquely within each throughline (I, You, We, They perspectives):

• Domain: The primary area of conflict.
• Concern: Central thematic focus.
• Issue: The specific thematic topic creating tension.
• Problem: The root cause of conflict.
• Solution: The element resolving the conflict.
• Symptom: How conflict initially presents itself.
• Response: Reaction or coping strategy to the symptom.
• Unique Ability: Quality enabling key influence on outcomes.
• Critical Flaw: Vulnerability that undermines success.
• Benchmark: Reference point measuring thematic progress.

Storybeats

Sequential markers indicating thematic progression within each throughline:

• Signpost 1: Establishing initial context or conflict.
• Signpost 2: Deepening exploration of issues.
• Signpost 3: Climax of thematic tension or turning point.
• Signpost 4: Resolution and thematic conclusion.

While not listed in most representations of Storyforms, Signposts break down into Progressions (four for each Signpost), and Progressions break down into Events (four for each Progression).

Additional Objective Story Storypoints

Define conditions shaping narrative progress toward the story goal:

• Goal: Primary narrative aim.
• Requirements: Necessary steps toward achieving the goal.
• Prerequisites: Conditions that must exist before the goal is pursued.
• Preconditions: Ongoing circumstances influencing pursuit of the goal.
• Dividends: Positive side-effects experienced.
• Costs: Negative consequences or sacrifices endured.
• Forewarnings: Indicators of impending negative consequences.
• Consequence: The outcome if the story goal is not met.