So if you wish to create a drama, the first thing you will do is make it about real people who behave as people do in real life.

To begin with, a drama can be described as a story in which the characters are as people are generally found in real life, no better, no worse. How then are genres like drama, romance, tragedy, comedy and black comedy created, given that they all have the same underlying structure? The genre structures govern the plots and subplots of the story, and also the feelings that create the emotional adventure that will be experienced by the audience as entertainment - all of which arise when you make one of the plots or certain character dimensions dominant. This article will be about the genre structures. These three qualities account for the differences that make great stories that have similar structures appear fresh and unique - and this is true in both the novel and the film. I then suggested that, besides this universal structure, there were three other story dimensions that had to be mastered to make your stories truly great: The Metaphor, The Genre and The Narrative Structure. The problem, change of fortune, and complications, crisis, climax, and resolution constitute the very essence of story - that without which there would be no story. the complications, crisis, climax and resolution that occur when a problem solving (or problem creating) action encounters resistance.

In either case, the resistance to the central action will create the classical story structure - i.e. In stories that end tragically, it's the reverse - the story starts in a state of good fortune and ends unhappily. In my previous articles I pointed out that all great stories have the same underlying, universal structure - namely, there is a threat, either agent or perpetrator, that creates a problem that brings about a change to a state of misfortune and is the main source of resistance that opposes the action when someone tries to solve the problem and restore a state of good fortune.

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