@mlucas had this:

If you are still planning to keep it in Subtxt as well, the only thing I’d like is to be able to see the elements in the minimized view (this is how it worked in Subtxt before). But I will probably use Narrova going forward, a lot faster than clicking around!

which I think means you’re wanting to see it in the collapsed view like this - but if you can be super specific I can be sure to capture it here.

These will start to become available in Narrova too, so that’s kind of why I’m asking, but they will always remain in Subtxt (which will always be a part of the platform too!)

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(i.e. when letting Narrova ply it’s magic it uses names, locations, logic and lore from the storyworld, not just randomly spun)

I am sort of stuck beyond just summarizing all the info in relevant .md files.

Has anybody got any experience with this, or tips on how-to?

Thanks, Alison

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I just created simple Dramatica HTML tool.

[Link removed]

It is based on Dramatica Dictionary available online. What I did is just a simple search engine.

And another tool:

[Link removed]

You can upload here reports generated here:

[Link removed]

In every field there is ‘i’ button to display dictionary entry.

Just download the html files. It should work locally.

If it is against licensing or something like that, please let me know. I will disable access.

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This session focuses on how change (or the lack of it) functions at the structural level of a story—not as a surface trope, but as a precise relationship between perspective, pressure, and resolution.

We’ll be breaking down:

• What a Character Arc actually represents within a complete narrative
• The difference between Change vs. Steadfast (and why both are equally valid)
• How arcs emerge from perspective, not personality or backstory
• Why most discussions of “character growth” miss the underlying structure entirely
• How Narrova helps you identify, track, and refine arcs with clarity

If you’ve ever struggled with questions like “Does my character need to change?” or “Why does this arc feel off?”—this session will give you a much more precise framework for understanding what’s really happening.

Whether you’re developing your own story or analyzing an existing one, mastering Character Arcs is key to maintaining narrative coherence and meaning.

Live on our YouTube channel at 12p Pacific Wed, Apr 8

Character Arcs - Narrova Skills

Recording will be available afterward if you can’t make it live.

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You’ll know its not complete because you’ll see something like this:

Going forward, the Storyform Context will always be complete and complete only - the NCP will be where you can iteratively work your way to a completed Storyform.

In the meantime, I added a “Repair Storyform” to the top of the Storyform viewer:

But you’ll see there is only so much it can do to try and repair the Storyform IF there isn’t enough left. If you simply ask Narrova to help though, the results are phenomenal. Check this out:

And what I really loved is that it offered up suggestions of what to nail down first here at the end:

Forever, I’ve been asked “How can I develop my story if I don’t already know my Storyform?” and my answer before was, “Learn Dramatica and figure it out first! (Narrative First, right?)” But now, with the magic of artificial intelligence, you can work through your story as you are writing it and iteratively develop your Storyform along the way.

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I think the list of Narrova Conversations got lost on the Narrova Platform. I can access them via Subtxt or else. But it’s a little inconvenient.

Did it move somewhere or is my recollection just false?

Thank you!

Gérard

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This session is focused entirely on the Objective Story Throughline–the external, observable layer of a narrative where conflict is shared, stakes are measured, and meaning becomes tangible.

We’ll be breaking down:

• How the Goal drives the entire Objective Story forward
• Why the Consequence is not just a penalty, but a critical part of the narrative argument
• The role of Players as carriers of perspective within the story’s structure
• How Plot and Players work together to create a cohesive, meaningful progression of events

If you’ve ever struggled to connect character function to plot movement–or wondered how Dramatica actually organizes a story at the structural level–this is the session that clarifies it.

Whether you’re developing your own story or analyzing an existing one, understanding Plot & Players is key to unlocking the Objective Story.

Plot & Players - Narrova Skills

Recording will be available afterward if you can’t make it live.

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We’re live right now on YouTube with a new Narrova Livestream—diving into the latest updates and what they mean for the Dramatica Narrative Platform.

Join here: https://www.youtube.com/live/-IvtonwiHqE?si=f4OAMlbZdQBB1UTW

If you can’t make it live, no worries—we’ll have the full recording available afterward.

Hope to see you there.

– Jim

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I’m working through a Reappraisal scene as explored through Deduction, Acceptance, Nonacceptance, and Induction. In the scene, the mom/wife character hangs something on the wall, but it won’t hang straight. In her mind, this is unsettling. She adjusts it, but no matter her efforts, it’s always crooked. She connects this to her family’s future. She goes to deal with a family member and is left even more unsettled. As she leaves the room, she passes the decoration and notices that it’s hanging even worse. Because she has already mentally connected this to her family’s future, the audience should get the idea/the story will Induce that if things continue as is, it will probably go bad for the family. Is that a theoretically sound use of Induction, or no?

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There’s a whole bunch I did over the past couple of months, and I think you’ll find Narrova even more comfortable helping you develop your stories. It’s no longer trapped in walled-off “rooms” for the individual Agents (Storyforming, Story Encoding, etc.) and instead, thanks to many many improvements in the capabilities of the models we use, we can now rely on Narrova to get the job done right the first time.

By means of example, and I’ll schedule a livestream this week (for real!) to go over everything, but this is one of Narrova’s “skills” which you’ll likely recognize from Subtxt…

You can call these at any time you’re collaborating with Narrova, but one day to do it is straight off the top:

In earlier iterations of the Extract Four Throughlines skill, we relied on a linear, queue-based approach—one that could competently derive the Four Throughlines from a simple story idea, but only in a single pass.

Now, with iterative capabilities in place, Narrova can build on its own reasoning—layering inference, revisiting assumptions, and refining outputs to produce significantly richer and more coherent results.

Combine this with direct access to Dramatica’s underlying theory of story, and the system begins to demonstrate something far more compelling—what can only be described as narrative intelligence:

Find Best Storyform is another new Narrova Skill, connected directly to the Storyform Builder. It allows Narrova to traverse the 32,000+ possible Storyforms within the Dramatica model, evaluating and comparing them to identify the one that best aligns with the author’s intent.

With extended reasoning time (this request took 5½ minutes), Narrova can explore potential sources of conflict, validate those choices, and backtrack when necessary—searching for the precise configuration of narrative dynamics that supports ongoing development and refinement.

In the end, Find Best Storyform returns the top four candidates, highlighting one as the strongest match for the story being told.

Drawing on over three decades of narrative research, Narrova can also reference prior analyses—such as CODA and Charlotte’s Web—to triangulate (or more accurately, quad-rangulate) the specific combination of narrative elements that work together to support a cohesive argument.

As with all great analysis, the review comes complete with evidence and backing:

And even goes so far as to review its justification for where it focused the Goal and Consequence of the Objective Story Plot:

Narrova is quite literal, so while it may have saved the “winning” Storyform into our NCP Story Notebook, you can always nudge it to transfer everything discussed:

And because we believe so strongly in the transportability and efficacy of our approach, the entire Storyform is available to you for download through the open-source project Narrative Context Protocol (NCP):

This JSON object is perfect for slotting into any part of your production’s pipeline (or just for using for your own side projects!).

If you’re a subscriber to the platform, try out these new Skills and let us know how it goes. Otherwise we’ll see you later this week!

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I am currently working on the Players of my Objective Story. There are about ten characters and I have filled in every text field in Subtext for them. No I am trying to assign some character elements.

As far as I understand the Suggest button wants me to direct into the archetype path, right? Which is fine. But not suitable in my case because I have quite complex characters I guess. Some elements more or less are assigned quite by themselves and do not fit into the archetype pattern.

The Add button seems not to work as I expected which is the reason to open this topic. Different than the Suggest button my selections do not reduce the number of possible choices. I can select every element, even dependent, companion or dynamic pairs within the same Player. This is not Dramatica conform as far as I understand. And it might not even wants to be. Maybe this is just a field where you make a list of all possible elements, play around with different suggestions for encoding them, so just getting started with what character elements can do in the story. But it cannot be fixed to a character here in a theory conform way, at least not automatically. As a user you have to know the math by yourself.

Narrova here is not of much help either. It helps in discussing what could fit. But Narrova isn‘t an expert in Character Elements. For example it gave me Variations instead of Elements. It doesn‘t have the 64 Elements on his list, so I had to give it that. Because my Objective Story is in Psychologie I had to give the exact element positions in the level to know what is dependent, companion or dynamic. I asked if I should change back from Encoding to the Storyforming Agent. Narrova said I wouldn‘t have to. I didn‘t try it yet. At least I have a final storyforming so this agent shouldn‘t be relevant. Or is it?

I think the Add button as it is now is fine. We should keep it. But the real element assignment in a theory based way is still missing. There should be a third button for that. 1) Playing around, 2) Archetypes, 3) Complex Characters. It might become more confusing than I guess when you don‘t know how to use it. But it‘s already confusing.

Maybe I misunderstand completely how to work with it. So please let me know what the intend of this buttons were. And if Narrova‘s agents could clear it up. Maybe it‘s still work in progress and the graphical character assignment GUI is already in planing like it was in the software of the nineties. That would be really nice.

Thank you!

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…so naturally, it had to become the centerpiece of a new blog post!

Bugonia and the Part of Storyform Writers Don’t Usually Believe Until They See It

Most writers assume structure shows up after the fact.

First comes the premise. Then the characters. Then the scenes. Then, maybe, if someone insists on talking theory, you go back and label what was already there.

But that is not what happens when a story is actually built on a coherent argument.

Sometimes you can start with a single dramatic tension and watch the rest of the Storyform begin organizing itself around it. Not mechanically. Not like filling out a worksheet. More like discovering that the choices were never isolated to begin with. They were relational.

That is what makes Bugonia so useful.

Because if you start with the elemental pair of Perception and Actuality, Yorgos Lanthimos’s stated intent starts snapping into focus almost immediately. Not just the themes. Not just the mood. The structural logic of the whole thing.

“This is a film about people who are trying to convince each other of their worldview.”

— Yorgos Lanthimos, RogerEbert.com, October 24, 2025

That is not a throwaway description. That is practically a Dramatica diagnosis.

Start with the argument, not the plot

If you begin with plot, Bugonia looks like a bizarre kidnapping story with conspiracy overtones.

If you begin with argument, it becomes something much more precise: a story about what happens when human beings can no longer agree on what is real, what is true, or what words are supposed to mean. Suddenly the conflict is not merely “a man abducts a CEO.” The conflict is interpretive. Persuasive. Epistemological. Everyone is trying to force reality to resolve in their preferred direction.

That is why Perception/Actuality is such a strong starting point.

Not because those words sound smart. Because they describe the pressure Lanthimos keeps returning to in interview after interview. Who do you believe? What do you trust? What happens when meaning itself becomes unstable? What happens when language no longer carries shared reality, only competing frameworks for it?

He says as much when discussing language and communication:

“People can speak the same words but mean different things. Especially with the advances of technology, the pace at which we consume words can make meaning so abstract.”

— Yorgos Lanthimos, RogerEbert.com, October 24, 2025

That sounds like contemporary cultural commentary, and it is. But it also sounds like the inside of a Storyform choosing its terms.

Once Actuality and Perception are in play, the rest is no longer arbitrary.

Why the Throughlines start falling into place

An Objective Story in Psychology makes sense here because the central conflict is not really about the external fact of a kidnapping. It is about manipulation, interpretation, worldview construction, and the models people use to explain the world. This is a story of ideologies, narratives, and distorted meaning. In Dramatica terms, that naturally points toward a Throughline concerned with how people think each other into corners.

And once the Objective Story is in Psychology, the rest of the quad is not a set of random aesthetic preferences. The Relationship Story finds its counterpart in Physics. That is not nitpicking. That is the difference between a theory that labels stories and a theory that understands how they balance. If the broader conflict is trapped in manipulative framing and conceptual construction, the relationship becomes the place where all of that gets forced into action: abduction, confinement, interrogation, coercion, the literal machinery of making someone “understand.”

The same thing happens in the personal Throughline. A Main Character Throughline in Mind with a Concern of Memory and an Issue of Truth does not feel imposed on this material. It feels inevitable. Of course the personal conflict would live inside fixed conviction, obsessive certainty, and a rigid relationship to what is taken as true. Of course questions of Truth would matter there. Once you are in Mind, that concern is no longer decorative. It belongs to that kind of internal pressure.

This is the part people often miss when they think of Storyform as a checklist. The choices are not separate boxes. They are relationships. Pick one meaningful term, and the neighboring terms begin revealing what kind of story can honestly live beside it.

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I’ve been struggling recently with brainstorming how a RS Signpost of Conscious would work in my story. I was stuck thinking about beliefs and opinions that could be troubling the relationship. I also considered, “what does the relationship believe about itself that is problematic,” and while that held some possibilities, nothing really clicked.

But then I searched the forum for RS discussions and found a bit from Mike about how the conflict in a relationship could be something that the relationship doesn’t like. And just that simple reframe opened things up. I started thinking, “maybe the relationship, at this point of the story, doesn’t like what other people know or think about it – it doesn’t like the Conscious attention it is receiving. So when the relationship is public, it pulls apart, but when it’s truly private, it grows closer again.”

And that thought just started writing scenes on its own, as (bonus!) it made perfect sense with the characters involved.

So thanks again! I know it’s been quiet here for a while, but I still check in and read and look up past topics

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Subtxt is great under Narrova. Here’s a couple-of-features request, primarily concerning synopses:

• is it possible to only include prior moments when generating a synopsis, instead of pulling from the whole storytelling? As of now, it tends to include stuff in the synopses of the early scenes that only become known in the finale. (Example: the synopsis for moment 3 including an object A which is only acquire during moment 35) Maybe something like checking the current sequence of moments and their underlying subtxt storytelling? You’re the expert
• is it possible to completely empty the memory of a synopsis when regenerating it? As of now the previously generated synopsis is still clearly visible, which is unfortunate if I have since corrected stuff and want to regenerate from a clean slate.
• Including the storyPOINTS in the basement is a great improvement. Unfortunately the synopses that are generated with included storyPOINTS tend to go very much off whack. Sort of writing a completely separate story on an own tangent/ disregarding lots of info that has been included in the subtxt events storytelling included in that specific moment, and filling in from other Moments (in the future).
• Is it possible to choose to fill out the synopsis field myself (i.e. copy-paste my own synopsis into it)
• I have uploaded codices for RAG (Retrieval Augmented Generation) in my subtxt story and storyform. Does subtxt check those when generating the synopsis? (My impression is not. Things that it clearly did check under Narrova, are forgotten or hallucinated wrongly.
• Is it possible to generate a Report for a single Moment that includes all the subtxt info that has been lifted from the basement into that specific Moment? That makes it way easier for me to summarize etc in f.ex. NotebookLLM. It is also very handy to keep next to me when reworking a Moment.
• Is it possible to make an instruction video/document, whatever, in which the precise usage of timing, and setting are discussed i.e. for best use practices. I find myself not knowing whether info present in the storytelling needs to be repeated in the setting/timing fields. My guess as of now is that only info present in that moment is included i.e. subtxt does not know which Moment comes before and after.
• And, if I include timing/setting and use labels identical to those in an attached RAG-document, can subtxt then pick up the appropriate info from that document?
• Would it be possible on a story-level basis to be able to replace the dramatica terms by ones of one’s own choosing. As it is now AI takes the terms literally, whereas sometimes I have my own specific intepretation of f.ex. logic, or emotion which is valid in that story specifically. It would greatly improve the applicability of Narrova generated material. (just as an example: logic might mean ‘Confucian ritual prescription’ and emotion ‘Daoist flow’ in a specific story)

Keep up the good work, it’s a great product!

Alison

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The Dramatica Users Group (DUG) is our monthly community gathering where we analyze stories using the Dramatica theory of story. In each meeting we break down a film or novel, discuss its storyform and narrative dynamics, and invite everyone to share their insights and questions.

All are welcome to join this month’s DUG session.

Date: March 10, 2026
Time: 7:00 PM (Pacific)

To participate, join us via Zoom at the scheduled time using this link:

Direct Zoom link for the meeting

The recording of the session will be available the next day on the Dramatica platform at:

Hope to see you there!

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You can still switch languages anytime by asking directly in a prompt, but this update gives everyone a reliable default experience across the platform.

Looking ahead, this is the first step toward making the entire surface transmutable. We’re resuming the work we began years ago to translate Dramatica theory into other languages, so structure and meaning stay intact while the language adapts to the writer.

As always, feedback is very welcome and helps shape what we prioritize next.

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You can now connect Dramatica to ChatGPT (and other MCP-compatible AI clients) to work with your Storyform and Storytelling in your preferred interface.

What it’s like

Once hooked up, you can access Dramatica directly from within your favorite AI app:

and then work on stories within your Dramatica account:

When you return to Dramatica, you’ll find your work saved away in just the right component for further development:

This is all about giving you more options and more access to Dramatica theory wherever you prefer to do your work.

What’s available now

• Connect Dramatica via OAuth
• Access your own Stories and Storyforms
• Read and update Storytelling fields (including Overviews like Logline)
• Use Dramatica context directly inside external AI conversations

And we plan to add more features and tools in the future.

Access requirements

• Active Dramatica subscription required
• OAuth connection required
• Appropriate MCP scopes required for read/write actions

Data controls reminder

If you connect through third-party AI clients, that client’s data/training settings apply to those conversations based on your plan/workspace configuration.

Working directly in Dramatica.com uses Dramatica’s own Training and Data Controls settings.

Setup guide

Full setup and policy details are here:
Docs → Resources → Connect ChatGPT (MCP)

If you want help getting connected, reply here with your client (ChatGPT, etc.) and we’ll point you to the fastest path.

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When Narrova quotes something in a sentence and marks it with a number there always are some letters missing in a word or in between words what makes it difficult to read.

It may not be a phenomenon everybody has. Narrova speaks German here. I am a Mac user and I use Safari.

Thank you!

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Since the end of 2025 I have been trying to access all the stories and AI interactions I have had on Subtxt for several years (always paying $29 per month, which was once the price for the standard service), and I am still unable to.

Jim, I know you Discorded me that you had switched me over to Dramatica.com so I could sign in, and that indeed has happened.

Yet the Dramatica.com site STILL does NOT recognize me as having a PAID subscription (though the $29/month keeps being withdrawn from my account)!

So I still cannot access any of my past stories, or start any new ones. What will it take for you to make Dramatica.com acknowledge those monthly payments?

(And since I currently don’t have time to make use of all the options provided by the $50/month subscription, I was hoping you could lower my monthly rate to $20—at least until I retire in August and have more time and money to expend on Dramatica.com activities.)

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I’m building a system to use an LLM to basically just have a natural discourse with the user to build the storyform itself, and then step by step (chapter by chapter) literally evaluate for deviations or additions, surface to the user and decide on an action plan.

Making it directional like that also means that in theory, at the end, you should be able to compare the manuscript to the storyform. I have a system now that uses Gemini for a three party review:

1. Unknowing reader - What would someone without knowledge of the source material feel / think about it after reading it

2. Storyform evaluation - After reading the story, did we adhere or deviate from our storyfrom components?

3. Consistency of tone (character and author) - Were we mostly consistent in representation of characters and general prose

The storyform evaluation is mostly useful to me as a pre-editing handoff step. Don’t want to chuck a bunch of money for an editor to be like “I feel like your main character started down this path and that never resolved”

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Latest Developments in Dramatica

Showtime is 1p Pacific

If you can’t make it live, the recording will be available afterward.

And if you already have questions but aren’t sure you’ll be able to attend, feel free to post them here (or message me). I’ll make sure to cover them during the livestream.

Hope to see some of you there.

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The Dramatica Users Group (DUG) is our monthly community gathering where we analyze stories using the Dramatica theory of story. In each meeting we break down a film or novel, discuss its storyform and narrative dynamics, and invite everyone to share their insights and questions.

All are welcome to join this month’s DUG session. To participate, join us via Zoom at the scheduled time using this link:

Train Dreams - Dramatica Users Group Analysis

The recording of the session will be available the next day on the Dramatica platform at https://dramatica.com/recordings.

Hope to see you there!

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An ISA Verified Pro is searching for one-hour, genre-busting drama pilots. The Pro loves character-driven stories with a hopeful and sincere tone, focusing on human connection and familial love. This Pro gravitates towards multi-generational stories that showcase how deep a family’s love can go.
Stories that revolve around characters learning to forgive or overcome a troubled past together are greatly of interest. While they are open to science fiction elements, the narrative must remain grounded and stay focused on the human element.
Recommended comps include Heart of the Matter, North to Home, When Calls the Heart, Heartland, and Cedar Cove.

So, I figured what better opportunity to test out Narrova than plugging this in and seeing what happens!

Getting Started

I logged into the Dramatica platform, selected Narrova, and then prepended the above with:

what do you say? think you could help with the following?

Narrova routed me to the “Story Guide”, which is our introductory Narrative Agent fine-tuned to help with initial story development.

Step 1: Story Seed (Tailored to the ISA Brief)

You’re absolutely in the right zone for this Pro’s tastes—multi-generational, hopeful, sincere, grounded human drama with room to “genre-bust” is a sweet spot I can help you build for TV pilot form.

Let’s start by spinning one clear story thread that could actually fit this brief before we get fancy with beats, tone docs, or a series bible.

WRITING PROMPT:

Thinking of this Pro’s tastes (family love, forgiveness, hopeful tone, possibly light sci‑fi but grounded):

• What kind of family do you most want to write about here (small town, ranch, city, immigrant, blended, etc.)?
• And what “wound from the past” do they all share in some way (a death, a betrayal, a big move, a secret, an accident, an illness, a business collapse, etc.) that they might learn to forgive each other for over the season?

Let those two threads (family type + shared wound) be simple and emotional, not “high-concept,” for now.

Conclusion Prompt:

In 2–3 sentences, describe:

1. The type of family at the center of your pilot, and
2. The painful event or troubled past they’ll be trying to forgive or heal from together.

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• Interactive Playthroughs: You can now run guided, interactive sessions that walk you through story development. Think choose-your-own-adventure, but with Dramatica.
• Visual Storytelling: Image generation is now woven directly into Dramatica Interactive, letting you visualize scenes as they unfold in the moment. With the new Visual Design Overview, you can set a consistent visual language for your project so images stay coherent from session to session — same story, same world, same aesthetic, without fighting the prompt every time.
• Players: A new Players section brings characters fully into the structural workflow. You can define a Player’s Role, Appearance, Voice, and Bio, generate images that stay consistent with your Visual Design, and — most importantly — assign individual Elements directly to Players. This grounds Objective Story dynamics in the cast itself, turning abstract pressure points into something concrete, trackable, and embodied in the people carrying the conflict.
• Plotting section complete: Weaving operations and Generated Synopses have been fine-tuned. For even more control, head over to Overviews and add the new Writing Style component to format what you get from generated synopses.
• Writing Section open (All Storytelling, All Synopses, Downloads): The last section of Subtxt, the Writing area, is now open. This section gathers all the Storytelling and Synopses from throughout the Illustrating section and strips all the Dramatica terminology out, leaving just the story. Perfect last stop before getting to the hard part. You can also download them as a package for sharing or review.
• PDF exports with images: Downloads (both in Narrova and in Interactive) now include related images alongside the PDF, so the package is complete and presentation-ready.
• Longer conversations: Context compaction keeps extended chats fast and aligned, so you can keep working without slowing down. The process is both manual (type /compact within Narrova), and automatic when you start to get down to your last resources.
• File uploads: Drafts and images upload more reliably and are easier to recall later in the conversation. Ability to toggle visibility of uploaded files in every context (Conversation, Story, and Storyform)
• Storyforming indicator: It’s now clearer when Storyforming mode is active, so you know when you’re using a deeper analysis engine (and therefore using more capacity).
• Blog and Documentation: We refreshed the blog and documentation resources to make guidance easier to find and follow.
• Expansion Capacity Packs: Purchased capacity now carries over across billing cycles and stays available for up to 12

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The Storyforming Agent is extremely powerful. Under the hood, it’s doing a lot of heavy lifting—evaluating narrative dynamics, resolving structural constraints, and working through the full complexity of Dramatica-based storyforming. Because of that, it uses significantly more tokens than other Agents.

That’s completely expected—but it also means Storyforming will burn through credits much faster than:

• Brainstorming
• Learning about Dramatica theory
• Story Encoding
• Storyweaving

Best practice: once you’ve locked in or mostly resolved your Storyform, you’ll want to move out of Storyforming and into Story Encoding or another more targeted Agent. You’ll get tighter, more focused results at a fraction of the cost.

One more important tool to be aware of: Narrative Efficiency controls.
That percentage slider isn’t cosmetic—it lets you dial back:

• Depth of reasoning
• Length of responses
• Overall computational intensity

If you don’t need maximum depth on every response, reducing Narrative Efficiency can dramatically improve credit efficiency while still giving you excellent output.

Bottom line:
Storyforming is a powerhouse—use it intentionally. Pair it with the right Agent at the right stage, and tune Narrative Efficiency to match what you actually need in the moment. That combination will give you the best balance of insight, control, and efficiency.

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The story while deep is so full of meaning and ….

If you’re into videogames please play it. If not, play it regardless. The story is just sublime.

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I need to give a HUGE thanks to this whole community, going all the way back to 2017 when I started the initial draft. Everyone here was a huge help to me in understanding Dramatica and applying the storyform concepts to my draft.

You can check the book out below, or on my website at michaellucasbooks.com. Books 2 and 3 are coming in February as well.

Oh, and feel free to share it with anyone who might be interested – spreading the word is super helpful for a new author. Thanks!

SECRET WAR on Amazon: ebook | paperback

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