Sunday, May 16, 2021

Another Quote from Snippets and Bits


Tarnished Karma Recording Session 1 1970s

Tarnished Karma is my stage name for the music I compose.

This may be the very first tape ever recorded of Tarnished Karma's original music back in high school days. It is one of a series of tapes of garage recording sessions containing demos, melody lines, hooks, and riffs that were documented for further development in future studio sessions. No one has heard them in almost exactly fifty years, including me! I found the cassettes in a box of old items last week, transferred this first one to digital and threw it onto a video. Its a bit scratchy, but hey - what a find! I'll publish more as I get them transferred to digital. Enjoy!

Good morning!


Been away from this blog for a while, but I'm back!  I'm 68 now and eager to document and share my body of work everywhere I can so that it might live longer than I do.  Everybody likes their own stuff, and I'm no exception.  So, you'll find it here, there, and everywhere - all my favorites from nearly 2/3 of a century of creative efforts.


Sunday, August 7, 2016

The Master Storyteller Method of Story Development

Master StorytellerThe Master Storyteller Method has four parts:
Part One: Create A Story World
What is a story world? Think: the world of Harry Potter or the Star Wars universe. Whether you are planning a single story or a whole series, creating a diverse and detailed story world will enrich and inform each story you draw from it.
Part Two: Draw Out Your Storyline
While a story world describes the environment, situation, and issues that will define your story, it is not a story itself. Drawing on this material, you will create a storyline for your Main Character / Protagonist that will begin with something that upsets the status quo, follows a quest (both personal and logistic) and concludes with a choice that will determine success or failure.
Part Three: Incorporate Story Points
Though your storyline may make sense and feel as it it touches all the bases, often a number of important story points may be missing, hidden behind the passion of your storytelling and vision. Here you will refer to a complete list of essential story points ranging from the goal of the protagonist to the issue at the heart of the story’s moral dilemma to ensure that every crucial dramatic element is not only included, but fully integrated into the natural flow of your story.
Part Four:  Refine Your Structure
Even if you have every essential story point represented, it does not necessarily mean that they are all working together toward the same dramatic purpose. In this part of the Master Storyteller Method, you’ll plot your story points against a unique structural template to determine where some of your dramatic elements may be working against each other or where holes and inconsistencies in your structure may exist. You’ll have the opportunity to choose which story points you’d like to adjust to make your story more structurally sound and which you wish to leave as they are because they work so well as is at a passionate level.
By the time you have completed the Master Story Method, your story will be passionately expressive and structurally sound. Your characters will be compelling, your plot riveting, your them involving, and your genre not quite like any other.

Friday, August 5, 2016

The War Between Creativity and Structure

Perhaps the greatest hurdle in writing is the attempt to bring structure to a story without putting your Muse in a straight jacket.

Often structure is brought into the picture too soon, clamping your passion into an iron maiden that pierces it more deeply with every turn of a structural screw until it bleeds out entirely.

In contrast, writing with purposeless abandon creates a jellyfish of a story: an amorphous blob of subject matter with no spine, full of sound and fury, signifying nothing.

The Master Storyteller Method was designed to bring passion and structure together seamlessly, at the right place and the right time in the story development process.

When first starting to write, our ideas usually come fast and furious. Many of them are little snippets: a notion for a line of dialog, a location in which some action will take place, the basic concept for a character, or perhaps a plot twist.

Sometimes, we begin with no more than a period of history or a topic or an ethical message that we’d like to explore in our book or screenplay, and the more we think about it, the more ideas we get.

 Like the pieces to a jigsaw puzzle, each story concept is separate, and what's more, we haven't seen the picture on the box so we don't even know that we're trying to build.

What we are doing at this stage is developing a Story World - basically a realm of our interests or subject matter that is all of the same basic topic or genre, but really isn’t a story yet.

As the story world becomes more complete, we begin to get a sense of the story we want to tell. In fact, a single Story World can give birth to many different stories, such as with Harry Potter, Anne Rice’s Vampire Saga, and the Star Wars Universe.

 The Master Storyteller Method provides techniques developing your story's world and discovering who's in it, what happens to them, and what it all means.

Your story world is like a map of the material you'd like to explore. Your story will be the specific path you take across it. Think of your Story World as a beautiful unspoiled landscape, untouched by the hand of man. You are a pioneer who is the first to see that gorgeous valley and your mind envisions a glorious city to be built there that works in harmony with the environment and provides an orderly life for its inhabitants.

You would not do well to have come with a predetermined “most efficient” city plan with all the streets and locations laid out with complete disregard to the terrain - to simply be stamped onto the land. Rather, you should look at the lay of the land and determine where a road can go straight and where it must go around a hill or a stand of trees to retain and even maximize the beauty of the scenic route.

Sometimes, alas, a tunnel must be drilled through a hill as it is the only way to get to a view, or a roadbed cleared through the trees so you can see the forest for them. But more often than not, if the landscape of your story is the guiding organizing property and the structure conforms to it, it will be a far finer city experience in the end.

The Master Storyteller Method gently creates a freeform structure: a means of organizing your story world that is both free and has form.

Eventually, you will have platted out your story city so that all the most impressive landmarks are left unaltered and there is an unbroken pathway that will convey your reader from one to the next until the sum total of your purpose in telling the story can be seen an appreciated.

But before you pave those roads and commit to construction, you'll want to be sure you have made all the best choices and that no better alternatives have emerged during your efforts to refine and revise your city plan. What you need is an objective way of double-checking that all the traffic will move smoothly, that the unexpected twists and turns in the road have a reason to be laid out that way and that no roads come up short or run into dead ends.

The Master Storyteller Method employs an interactive spot-check for all essential structural points and a guide against which you can compare your story-plan to see where and how far you may have diverged from a consistent structure.

Keep in mind that no structure has to be perfect in a finished work. Still, you'll want your structure to be as sound as possible without undermining the very concepts that drew you to want to write this particular story in the first place.

In the end, it is a judgment call for the author as to whether drifting off structure does too much harm or is okay in any given case.

The main point is that that no one reads a book or goes to a movie to experience a perfect structure but rather to have their passions ignited. So if it comes to a choice between an exciting thing and a structural thing, go with the excitement whenever you can, but be sure never to break structure completely or your readers or audience will not be able to cross that gap and will cease to follow you on your journey.

A self-guided version of the Master Storyteller Method is available for free on this web site. Just follow the steps provided, or jump right into the sections where your story could use the most help.

A customized version of the Master Storyteller Method is available in which Melanie Anne Phillips will discuss your story and your vision for thirty minutes of consulting time by phone, Skype or email, then create a step by step guide to help you get the most out of the method. Cost: $100

A personalized approach to the Master Storyteller Method provides live guidance and feedback from Melanie Anne Phillips whenever you need it including complete support through the entire process. Cost: $100 / hour

Thursday, April 14, 2016

WRITING SOFTWARE SALE - By Special Arrangement!

WRITING SOFTWARE SALE - By Special Arrangement!

By special arrangement with Write Brothers, Storymind is pleased to announce a limited time sale of Write Brothers writing software including Dramatica Pro, Dramatica Story Expert, Movie Magic Screenwriter, and Outline 4D. - Click the link below for details!

Just enter Coupon Code WRITEBROS when you order to receive the lowest prices we have ever offered on Write Brothers products - SO LOW we can't publish them here. Before you purchase, you'll see your special price after entering the coupon code.

Thursday, April 7, 2016

Does your story suffer from Multiple Personality Disorder?

Does your story suffer from "Multiple Personality Disorder?"
Find out in this short article that gets to the heart of your story's identity.

Wednesday, March 30, 2016

Does Dramatica Support Multiple Protagonists?

A writer recently asked, do the Dramatica software and theory support multiple protagonists (several people trying to achieve the goal for themselves)?

First, the short answer is yes, Dramatica supports that.

But there’s more.

Here’s the long answer (bear with me here as the following should really open up some new ways of looking at story structure for you).

Why does structure exist in fiction and where did it come from? In real life, when people are drawn toward a point of common interest - be it by forming a club or organization or just by competing for the same thing, they quickly adopt roles - they self-organize unconsciously. What are these roles and where do they come from? We each have mental tools with which to assess the current situation, determine a potential improved situation, and to devise a plan to change what is to what we’d like better. That’s narrative’s core. It is what the individual does. We each have, for example, our ability to reason and a sense of skepticism. But in a group, like a company or a political organization, we specialize, each adopting just one of those tools as our job. And so, someone emerges as the voice of reason, another as the resident skeptic. This helps the group see deeper into the area of common concern than if everyone was each trying to do all the jobs like general practitioners.

Fiction is our attempt to understand these roles and how they interact with one another. It is our attempt to understand the best approach to take, of all those that might be considered, in order to achieve our desired goals. It is advice on how to best fulfill our obligation to ourselves in our personal narratives when they come into conflict with our group narratives. For 30,000 years we have told stories to provide guidance in life, and, through trial and error, the elements of those stories, such as the archetypal roles representing the roles we take in groups, became encoded as the conventions of story structure.

Because each of the roles in a group represents an aspect or facet of our individual minds, these conventions of story structure provide a map of how our individual minds work, as well as our “group minds.” When we developed Dramatica, we were the first to recognize that the structure of story modeled the human mind and the group mind. Armed with that understanding, we mapped out these conventions of structure from a psychological point of view and learned such things as the following:

Some stories have a single goal with a protagonist and an antagonist. Other stories have single goals but have many people trying to achieve and/or prevent achievement of the goal. But only one of these people is a protagonist and one is an antagonist. Each of the others, though seeking the goal, operates as one of the other roles, such as reason or skepticism.

So, it would be redundant to have “multiple protagonists” as they would all be trying to prove whether that same human quality is the best way to solve the problem. Protagonist represents our initiative - the motivation to instigate change. A better structured story would have one person who starts the quest, and others who join in to get there first. Then, each of the others could illustrate whether those other traits are the best ones to use and that would be the story’s message.

A good example that comes to mind are the characters in the old comedy “The Great Race” with Tony Curtis and Jack Lemon. Though Tony is the protagonist because he comes up with the idea of the Great Race and Jack is the antagonist because he is the long-time chief competitor to Tony, many people join the race, each seeking to win, and they represent the other archetypal roles in how they try to do it.

In summary, I would say that you would do better not to think of all those attempting to achieve the goal as protagonists, but as representing other human traits than “initiative,” which is what defines the actual protagonist. And from that point of view, Dramatica only allows one protagonist, but can have as many characters as you like trying to achieve the goal.

Learn more about narrative structure and Dramatica at