by Melanie Anne Phillips & Chris Huntley
Co-creators of the Dramatica Theory
Up to this point [in the Dramatica Theory Book], we have explored the encoding process as if storyform and storytelling were the only concerns. This is only true in a theoretical sense. In practice, a story cannot be transmitted from author to audience except across a medium. The medium in which a story is presented both limits the tools available to the author, and provides uniquely useful tools. For example, motion pictures are not known for the capacity to present stories told in taste or touch or smell. Stage productions, however, have made effective use of all three. Also, a novel allows a reader to jump ahead if he desires, and examine aspects of the story out of order, something one cannot do in a movie.
Stories in many media are recorded to play back directly to the audience. Others are recorded as cues to performers and translated through them to the audience. Still others are not recorded at all and simply told. There can be as many media as there are means of conveying information.
Even within a single medium there may exist several formats. For example, in television there are half-hour three-camera formats, half-hour single-camera formats, one-hour and two-hour and mini-series formats. Also, time is not the only quality that defines a format. Soap operas, episodic series, and multi-storyline episodic series are but a few variations. Each of these formats offers dramatic opportunities and each operates under constraints. By exploring their demands and benefits, the process of encoding can be related to best advantage in each.
From the Dramatica Theory Book