A dramatic need is a part of the protagonist's heart that is broken or immature. The purpose of the story is to help the protagonist fulfill his/her dramatic need. In other words, to help the protagonist fix what is broken or to mature in a particular way.
We approached the concept of dramatic need by watching "Ausreisser" (which is available on iTunes for $2). If you haven't watched it yet, go do so. I don't want to ruin the ending for you.
The story is about Walter, a man who is approached by a little boy who claims to be his son. The man rebuffs all the boy's attempts at a father/son relationship, constantly on the lookout for a way to get rid of the kid. Eventually Walter finds out that he really IS the boy's father. He also finds out that the little boy he has been rebuffing all this time was actually the little boy's ghost who came to lure Walter to his comatose body. At the boy's bedside Walter undergoes a change of heart.
The protagonist has the dramatic need
It was difficult at first to get a hold on who was the protagonist. Many in the class argued that the little boy was the protagonist because he had a stronger goal than Walter did and was more active. This was a good argument.
However, the one thing that set Walter off from the boy is that Walter experienced the greatest range of change. In other words, he was the one with the dramatic need. The boy only had a goal (to lure Walter back), Walter had a goal and a dramatic need.
Walter's dramatic need was to make room in his heart for a son he had abandoned long ago.
Dramatic need is often in conflict with the protagonist's goal
What interesting about a dramatic need is that it is often in conflict with the protagonist's goal. Walter was only interested in getting rid of the little boy, but in order to fulfill his dramatic need, he had to become a willing father to the boy.
Revelation of the Dramatic Need usually comes late in the story
However, Walter was not aware of this. Protagonists are rarely aware of their dramatic need until very late in the story, usually because they are too interested in obtaining their goals. Usually the audience isn't aware of it until later in the story as well, for the same reasons.
The Antagonist often works against the goal, but FOR the dramatic need
Walter was the protagonist, and the little boy was the antagonist. He was constantly thwarting Walter's goals. However, the little boy was also helping Walter, little by little, to fulfill his dramatic need. Antagonist's often play this dual role in dramas: they work against the protagonist's goal, but toward the protgaonist's dramatic need.
The above schema shows how a dramatic plot works. Notice that the goal is on top (as usual) but the dramatic need is on bottom. The protagonist is working to obtain his/her goal, while the antagonist works to keep the protagonist from his/her goal. However, each event pushes the protagonist closer and closer toward his/her dramatic need.
Dramatic need is the key to a great story
The dramatic need is what separates OK stories from great stories. We're willing to root for someone with a goal, but we're willing to feel with someone who has a dramatic need. Mainly because there's a lot more at stake. Someone with only a goal only has the goal to lose. Someone with a dramatic need is often dealing with something much more important. Their own soul.
