Originally Posted by JimHull
To address MrEarbrass:
I don't feel compelled to force "Mockingbird" or "Casablanca" into any paradigm. The OP expressed confusion because he was trying to write a story where the Main Character was not the one driving the efforts towards solving the story's central goal. He was told his problem was that he was trying to write a story where the Main Character wasn't the Protagonist. There have been several great meaningful stories that have been written where this "rule" isn't the case.
I use the Dramatica theory's understanding of story because it explains why this previously held belief is wrong. As far as forcing these stories into boxes, they actually "fit in" quite nicely without any effort. As do "Hamlet", "Romeo and Juliet", "The Godfather", "Amadeus" and so on. If the theory is accurate, then there should be no need to bend its concepts, as is often the case with Hero's Journey or Save the Cat! paradigms.
As far as needing a computer to write, the theory stands on its own without the intervention of any program. I'm not trying to sell a particular system as much as I'm using its understanding to communicate why stories work the way they do. The software only exists as a tool to help writers keep the contexts of their story consistent. You certainly don't need it to write well, as your example of the Epstein brothers proves.
However, I will say that I find it to be extremely helpful in writing as it clearly surpasses previous understandings of story. It goes beyond "willful protagonists" and "Dark Night of the Soul" moments to describe WHY those concepts exist and then gives you a mountain of possibilities from which to expand upon. It doesn't pretend to make things easier, and it shouldn't -- writing a meaningful story is a complicated beautiful endeavor that at the very least, should require some deeper thought and understanding.
THIS IS EXACTLY what is going on my script. The main character, isn't the one who will solve the central goal or dilemma, it is a secondary main character we meet in the second half of the film. Crafting a logline is incredibly difficult because it doesn't appeal to the standard formula.
Any advice on this matter will be greatly appreciated.