For example, it's generally acceptable to finish weaving all four throughline signposts (e.g. There are no RULES for storyweaving, only guidelines. HOWEVER, in the real world we dole them out in bits and pieces over time, and thus the need for Storyweaving. In a perfect story world, the signposts happen simultaneously. Do the Signposts and Journeys have to sync up between the Throughlines?ĭo the signposts and journeys from a given throughline need to correspond time-wise with the same signposts and journeys from the other throughlines? If so, how do you illustrate the Influence Character's impact on the main character at Signpost #1 if the IC isn't introduced until somewhere in MC/OS Journey #1? The difference is the context in which the Type is found: whether it is the narrow focus of the Story Goal, the general area of the Overall Story Concern, or the temporary context provided by the Overall Story Signposts. There is no general difference if the Type (the structural item associated with the Story Goal and OS Concern and one of the Overall Story Signposts) shows up in the first, second, third, or last signpost. The Signpost that explores Obtaining might be thought of as "what do the characters gain or lose while trying to find the lost treasure?" Another signpost - such as Gathering Information/Learning - might be thought of "what do the characters learn or what information is gathered while trying to find the lost treasure?" Thus all four acts are explored through the signposts within each throughline. The signposts provide a broad context for a period of time in the story (an Act) that frames the effort to achieve the specific Story Goal, broad Overall Story Concern, and resolve the story's OS Problem(s). The various Overall Story Characters, some concerned with one thing while the others concerned with the other things, explore these in general. It will also have an Overall Story Concern of OBTAINING, which is a more generalized concern that might include finding a map, winning the lottery, losing an election, losing a job, etc. The Overall Story Signposts describe the various approaches toward achieving the goal while also exploring the alternatives, one of which is of the same nature (Type) as the story goal.įor example, your story might have a Story Goal of OBTAINING, such as Finding the Lost Treasure. The Story Goal should be explored in each of the four acts (signposts) of the Overall Story throughline followed by the resolution of the effort to achieve the goal identified by the Story Outcome (Success or Failure) somewhere toward the end of the story. The story goal is a SPECIFIC instance of the Overall Story Concern (or Signpost) about which the Overall Story characters represent differing approaches to achieving it by resolving the underlying conflict.
However after playing around with Dramatica I often find the goal showing up as the first second or third signpost. I have always thought a goal of the story should show up at the end of the story.
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