Conceptual Story Modeling and Model-driven Architecture for Story

Creation

Hongxing Liu, Jiali Sun, Shiyu Wang, Qing Yang and Yonghua Li

College of Computer Science, Wuhan University of Technology, Wuhan, China

Keywords: Model-driven Architecture, Domain-Specific Conceptual Modeling, Story Creation, Narratology, Modeling

Tools.

Abstract: Novels, movies and other genres of stories are popular. This paper studies the methods of computer-aided

story creation by means of domain-specific conceptual modeling and model-driven architecture. Firstly, a

new conceptual modeling language for story is presented, and its abstract syntax and concrete syntax are

defined. The conceptual story model is a kind of graphical, highly abstract, and genre-independent model

that describes the events, characters, settings, and the relationships in a given world. We developed a

software tool to support the conceptual modeling. Secondly, a model-driven architecture for story creation is

proposed, which consists of a series of related models, languages, and tools to support the modeling and

transformation. In the architecture, a story work is represented by story models, and the story creation

becomes a modeling process from abstract to concrete. We take the genre of story as the platform, so the

conceptual model is a platform-independent model, which can be transformed to various platform-specific

models. We believe the architecture is a new way for story creation and can make sense for the creative

industry.

1 INTRODUCTION

A story is any fictional or nonfictional description of

events and people that the writer has invented in

order to entertain people. There are many genres of

story, including novel, movie, TV play series,

history and the emerging interactive storytelling.

Internet facilitates the publication of story works,

which attracts more people to create stories. Internet

also promotes the growth of the creative industry so

that more professional teams engage in creating

story. The teams should work in cooperation, share

information, and create story works efficiently and

effectively.

The typical process of story creation is that the

author firstly collects the material, then conceives

the outlines, and then begins to write in detail.

However, in actual writing, many writers are used to

creating stories by intuition and do not conceive an

outline, which leads to substantial revisions of the

first draft repeatedly (Brooks, 2011). This kind of

writing process can lead to the following problems:

1) lack of clear definition of creative activities,

resulting in a lack of overall planning of the work,

and the difficulty in supporting team creation.

2) Stories are created for a specific genre from the

very beginning, which makes it difficult for stories

to be transplanted to other genres. So it is necessary

to develop new type of computer-aided creation

methods and tools, in order to improve the

traditional story writing methods and better meet the

needs of the market.

Different from story and its creation which

belong to the category of literature or social science,

computer software and its development belong to the

category of science and technology. However ，

there is a great similarity between the two. First,

both stories and computer software are “software”,

whose substance and value rely on the function and

content they carry. Second, both of them are artifacts

with considerable complexity. Because of this

similarity, it is possible to leverage the methods in

computer science and software engineering to

develop new methods and tools for creating stories.

This paper studies story creation from two points

of view, i.e. domain-specific conceptual modeling

(DSCM) (Karagiannis et al., 2016) and model-

driven architecture (MDA) (OMG, 2014). We

consider story works as story models and then story

creation as the process of story modeling.

Liu, H., Sun, J., Wang, S., Yang, Q. and Li, Y.

Conceptual Story Modeling and Model-driven Architecture for Story Creation.

DOI: 10.5220/0007371803070314

In Proceedings of the 7th International Conference on Model-Driven Engineering and Software Development (MODELSWARD 2019), pages 307-314

ISBN: 978-989-758-358-2

307

Conceptual modeling is about describing the

semantics of software applications at a high level of

abstraction (Embley and Thalheim, 2011). We

assume that in the creating process of story works,

especially those large and medium-sized story

works, the conceptual model of story should be

developed firstly, in order to describe the blueprint

of the story works. We take the genre of story as the

platform, so the conceptual model should be an

abstract platform(genre)-independent model (PIM),

which can be refined into a variety of concrete

platform(genre)-specific models (PSMs) later, such

as novel models and screenplay models. Finally, the

PSMs can be directly transformed into the narrative

texts for the corresponding genres. A series of

related models along with the corresponding

modeling tools and model transformation tools,

constitute the Model-Driven Architecture for Story

Creation proposed in this paper.

The rest of the paper is organized as follows: In

Section 2, we propose a conceptual story model and

define the conceptual modeling language. Section 3

describes a blueprint for the Model-Driven

Architecture for Story Creation, and introduces the

basic components in the architecture. Section 4

analyzes the related researches and illustrates the

characteristic of our work. Section 5 concludes the

paper.

2 CONCEPTUAL STORY MODEL

AND THE MODELING

LANGUAGE

2.1 From “Story” of Narrative to the

Conceptual Story Model

Narratology studies the nature, form, and

functioning of narrative (regardless of medium of

representation) and tries to characterize narrative

competence (Prince, 2003). Narratology studies how

narrative works, i.e. how to “tell stories”. Generally,

a narrative has two parts: “story” and discourse.

“Story” is the content, while discourse is the

expression, the means by which the content is

communicated. In simple terms, the “story” is the

what in a narrative that is depicted, discourse is the

how (Chatman, 1978). Since the “story” of narrative

has special meaning, it is placed between quotations

in this paper to distinguish it from the story in

general sense.

Narratology acknowledges the independence of

“story” (Chatman, 1978), that is, people can use

different discourses to express the same “story”, and

the same “story” can also be manifested by multiple

genres. Discourse is closely related to the genre of

narrative, and it is explicit and direct. But “story"

itself is implicit and is not a material object, which is

hidden in the narrative text and must be described in

discourse. A reader reads out or recalls the “story”

after reading, as shown in Figure 1.

Figure 1: “Story” and discourse, the independence of

“story”.

Inspired by the difference and separation

between “story” and discourse in narrative, we

propose a new conceptual model for story, i.e.

Conceptual Story Model.

<Definition 1> Story: A story is the events,

characters, settings, and the relationships between

(among) them, in a given world. The world is the

part in a real or virtual world that people (especially

the writer of the story) are interested in.

<Definition 2> Conceptual Story Model (CSM):

CSM is a visual and formal representation of story at

a high level of abstraction, which can be defined as

an 8-tuple:

CSM（E，C，ST，E-E，E-C，E-ST，C-C，ST-

ST）

Where,

 E is the collection of events; an event is either an

action or a happening.

 C is the collection of characters; a character can

be real or fictitious, an individual or an

organization.

 ST is the collection of settings. It refers to the

physical environments, natural rules or social

rules in the space of story.

 E-E is the collection of relationships between

events. The relationships are temporal.

 E-C is the collection of relationships between

events and characters.

 E-ST is the collection of relationships between

events and settings.

 C-C is the collection of relationships between

characters.

 ST-ST is the collection of relationships between

settings.

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CSM should have the following characteristics:

1) CSM is a Domain-Specific Conceptual Model,

especially for the domain of story creation and

literary criticism.

2) CSM is a Platform(Genre)-Independent Model

that can be transformed into the final

Platform(Genre)-Specific Story Model, such as

novel, screenplay, history, interactive storytelling,

etc. but CSM itself is an independent artifact.

3) CSM is a tangible representation of the narrative

“story”; and a spatiotemporal model which

records the time and space information of events.

It arranges events according to actual time and

causality, and describes the “story” only in God’s

perspective.

4) CSM uses graphical notation, and just employs

the “minimal discourse”, that means rhetoric and

genre-specific discourse are not necessary and

should be limited to use in CSM.

5) CSM is a non-linear, multi-dimensional view,

while novel and screenplay are linear texts.

6) CSM is visual and intuitive, which is easy to be

created, modified, understood and communicated.

It supports team cooperation.

7) In CSM, a hierarchical structure is adopted to

support a structured design process with a top-

down and step-by-step refinement. And a design

(creation) that gradually expands from the core

can be used.

8) CSM is a model and not just a diagram, so that

some software tools can be developed based on it

for various applications, such as queries, statistics

and transforms.

CSM is inspired by the “story” of narrative, but there

are notable differences between the CSM and “story”

in the following two aspects: first, the CSM is visual,

concrete and independent while the “story” is

implicit and dependent; second, the “story” is hidden

in the existing narrative text, in other words, the

narrative text exists before the “story” can be

extracted from it, while CSM exists before the

narrative text, it should be considered as the first

version of the story work. Narratology is mainly used

for literary criticism to criticize the existing story

works. Although CSM can be used to represent the

“story” of narrative and for criticism, a more

important application is story creation; it is an early

conceptual description of a story work, and a

preliminary result of story creation. A CSM describes

all the content to be described in the story works, so

that it may have larger scope than the “story”. It can

be called Pre-Narrated, that is, the narrative form

before the story work is formed.

2.2 Conceptual Story Modeling

Language

This paper presented a Conceptual Story Modeling

Language (CSML), for representing the CSM.

Referring to MOF’s way of defining modeling

languages (OMG, 2013), we use a meta-model to

define the abstract syntax of CSML and a graphical

notation to represent the concrete syntax of CSML.

2.2.1 Abstract Syntax and Concrete Syntax

The abstract syntax of CSML is shown in Figure 2,

where the basic modeling constructs and the

connection rules are defined. The constructs and the

rules are the vocabulary and syntax in a language.

The constructs are divided into two parts. One

part is the elementary constructs used to define the

story constructs, including some of the most basic

elements, such as data type, name, and package;

these are not shown in Figure 2. The other part is the

story constructs that will be used to describe the

CSM directly, and these are the focus of our

concern.

According to the abstract syntax defined in

Figure 2, a story contains: one start; one end;

multiple events, characters, settings, and

relationships. Character can be specialized to two

Figure 2: The abstract syntax of CSML (simplified).

Conceptual Story Modeling and Model-driven Architecture for Story Creation

309

specific types, person or organization. Person

represents real or fictive characters, which can be

anthropomorphic. Organization is a collection of

person, such as a team. Setting can be specialized to

two specific types: environment or rule.

Environment is the physical environment where

events occur, such as land, house, etc. Rule is the

natural rule or the social rule. Event is the most

important construct, which can be specialized to two

specific types of action or happening. An action is a

change of state brought about by an agent. A

happening is a thing that happens, in a way that is

hard to explain, such as an earthquake.

CSML can describe three kinds of relationships

as follows:

1. The relationship between events (E-E), which

can be specialized to four subtypes.

─ Composition. A parent event can contain

multiple subevents, and these subevents are

closely related. A subevent can only belong

to one parent event. Events can be nested in

multiple layers. Atomic events are the

smallest unit of events.

─ Sequence. The chronological relationship

between events.

─ Causality. A special chronological

relationship, the “cause event” occurs before

the “result event”. the former event is a

necessary condition for the development of

the latter event and the latter event is the

result or inheritance of the former event.

─ Relevance. The relationships between events

other than the above three.

2. The relationship between events and characters

(E-C).

3. The relationship between events and settings (E-

ST).

There are also abundant relationships between

characters, which are temporal and time-varying.

There are also relationships between settings, which

are spatiotemporal. In order to keep the modeling

language concise, these two kinds of relationships

are not defined in the meta-model.

We have defined a graphical notation for CSML,

as shown in Figure 3, which is the main part of the

concrete syntax of CSML.

Figure 3: The graphical notation of CSML.

2.2.2 Integrity Constraints and Modeling

Rules

The main integrity constraints are listed as follows:

 A model must have one starting point (Start), one

or more endpoints (End).

 Each of the model elements must have a unique

code. Each of the events, characters, and settings

must have a name.

 There is only one relationship between two

events.

 An event can have 0 or more pre-relationships

and 0 or more post-relationships.

 An event cannot be isolated.

 An atomic event can only associate with at most

one setting.

 A non-atomic event can associate with n settings,

n>=0.

 An event can associate with n (n>=0) characters,

and a character can be associated with multiple

events.

 If an event has multiple follow-up events, it needs

to be labeled(named) in the relationships with the

follow-up events.

 A duration can be marked on the relationship line

between two events.

 Timeline from left to right (or top-down) is

defined; events are arranged along the time axis.

CSM, a visual representation of the “story” of

narrative, mainly describes the original framework

of story, which is the outline and the simplest

representation of the story. Therefore, the conceptual

model should only contain the minimal discourse

and rhetorical means. In the process of conceptual

modeling, we should arrange events chronologically

and describe the events in “God’s perspective”.

Writers should pay more attention to the intrinsic

coherence between events， and describe conflicts

and the relationships between major individuals

briefly. As for the character’s thoughts,

environment, and scenery, only abstract and brief

expressions are needed. Since the conceptual model

is Genre (Platform)-Independent, it can

commendably reflect the independence of “story” of

narrative.

2.3 Conceptual Story Modeling Tool

We have developed a graphical modeling tool which

supports the CSM modeling; the tool is implemented

based on MetaEdit+ (MetaCase, 2018). Fig. 4 shows

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Figure 4: The CSM of “The Lion King” (fragment).

a part of CSM model of “The Lion King”, which is a

reengineering from the movie (Disney, 2005).

The functions and usages of this modeling tool

are very similar to that of database modeling or

UML modeling tools such as PowerDesigner (SAP,

2014). Those story constructs defined in Fig. 3 are

placed in the toolbox of the tool, so the modeler can

drag constructs to the graphic editing area handily.

The graphic editing area is a two-dimensional plane

that represents the story space. The X axis represents

the story time, and events are arranged along it in the

order in which they happened. If a complex event

contains several subevents (i.e., composition), it is

represented simply by embedding the subevents into

the parent event. Other relationship between two

events, i.e., Sequence, causality, or relevance, is

represented respectively by one of the three types of

relationship lines. When a leading character is

involved in an event, you can represent it by

drawing a corresponding relationship line between

them. A number of parallel swim-lanes can be set

along the Y axis. A swim-lane, an organization unit

of modeling, can hold several related events and

represents a storyline. After double-clicking on the

graph of an event, a window will pop up in which

the event can be described in natural language.

3 MODEL-DRIVEN

ARCHITECTURE FOR STORY

CREATION

Like computer software, story works are also

software or artifacts. The internal structure and the

logic in a full-length story can be very complicated.

Therefore, we could benefit from the experience of

software engineering to study the method of story

engineering.

Model-Driven Architecture (MDA) is a software

development framework launched by OMG. MDA is

new approach to system development, which

increases the power of model and makes model play

a more important role in the process of software

development. The two word-senses in which

architecture is used are: A set of models with the

purpose of representing a system of interest; the

activity and or practice of creating the set of models

representing a system.

From the viewpoint of MDA, this paper proposes

a Model-Driven Architecture for Story Creation, as

shown in Fig. 5.

We mainly focus on the creating or writing stage

of a story. This is a process of story from intangible

to tangible, elementary to advanced, and abstract

(skeleton) to concrete (vivid). Whether “creating” or

“writing” imply the representation of story and such

a representation is a Story Model. Story creation is

to design and build the story models, the process of

which is called Story Modeling, it is a kind of

Conceptual Story Modeling and Model-driven Architecture for Story Creation

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Figure 5: Model-Driven Architecture for Story Creation.

Domain-Specific Modeling. A language used for

story modeling is called Story Modeling Language

which is a Domain-Specific Modeling Language.

Multiple modeling languages can be used to describe

the same story, so multiple Story Models of the story

can be obtained.

In the MDA development life cycle, PIM, PSM

and code are at the core of the MDA. PIM is a model

with a high level of abstraction that is independent

of any implementation technology. A PSM is

tailored to specify your system in terms of the

implementation constructs that are available in one

specific implementation technology. A PIM is

transformed into one or more PSMs. For each

specific technology platform, a separate PSM is

generated. The final step in the development is the

transformation of each PSM to code. Code is also a

model that is fit in definition of model (Kleppe et al.,

2003).

Three kinds of related models are introduced in

the Model-Driven Architecture for Story Creation,

which are Platform(Genre)-Independent Model

(PIM), Platform(Genre)-Specific Model (PSM) and

Text (Code). PIM is specified by Platform-

Independent Modeling Language (PIML), in this

paper PIM is the Conceptual Story Model which is

specified by the Conceptual Story Modeling

Language (CSML). A story can be represented in

different genres, so a story can have different PSMs.

For each genre, a Platform(Genre)-Specific

Modeling Language (PSML) is needed to specify the

PSM. Text is the final output, which describe story

through narrative text. In order to support the above

modeling processes, the corresponding modeling

tools and transformation tools are needed.

PIM Modeling. We consider the genre of story as

the platform, so CSM is a PIM, which is described

in minimal discourse or genre-independent

discourse. A PIM is specified by using the PIML.

The computer-aided PIM modeling tools can offer

convenience to users (writers) to design PIM.

PSM Modeling. PSM is described by using the

genre-specific discourse. Corresponding to different

genres, there are different PSMs, such as novel

PSM, screenplay PSM and so on. A variety of

PSMLs and modeling tools are needed accordingly.

The model transformation tool transforms PIM to a

primary version of PSM, and then writers can use

PSM modeling tool to reconstruct and refine the

PSM. PSM modeling tools should have some genre-

specific means for the discourse, which can support

writers to create more elaborate and artistic PSM.

The common means of discourse includes

narrator, perspective, narrative time,

characterization, narrative order and so on

(Chatman, 1978). Different genres have different

means of discourses. For example, the mental

activities of a character can be described in detail in

a novel. While in a movie, the appearance and

movement of a character can be more intuitively

presented, but it is difficult to describe mental

activities directly like those in novel. Therefore,

there should be multiple PSMLs in the architecture,

which specify the platform-specific models of

different genres. The PIM of a story (S) can be

transformed, reconstructed and refined to several

kinds of platform-specific models, such as the novel

model (S1) and the movie model (S2).

After using genre-specific discourse tools, the

PSM and PIM of the same story will have obvious

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differences as follows: 1) Scope and granularity.

The PSM may only describe part of the PIM (event,

character, or setting) after selecting and tailoring.

The description in PIM is simple and highly abstract

while the description in PSM is elaborate and highly

artistic. 2) Dimension. The PIM represents the

relationship between events in a two-dimensional

plane and can present multiple story lines at the

same time. However, the PSM is one-dimensional

and is a linear arrangement of events according to

the needs of narrative. 3) Narrative order. The PIM

arranges events according to chronological order,

that is, the actual time the story happened. The PSM

arranges events according to narrative order, and can

use interposing, flashback, and others, so the

sequence of events can be very different from that of

the PIM. 4) Narrative perspective. PIM narrates the

story in the viewpoint of the third person (from the

God’s perspective), while PSM introduces various

narrative perspectives.

Text Producing. Different from PIM or PSM, Text

is actually not a graphical model but a final narrative

text that can be printed and published after being

rearranged on the basis of PSM according to the

publication standard of certain genre works.

Therefore, there should be several transformation

tools that can transform PSMs to corresponding

work texts automatically. From the perspective of

narratology, both “story” and discourse are same in

PSM and Text for the same story, except for the

different form of text. For example, for a novel (a

screenplay), its Text is the novel text (screenplay

text) that is arranged according to the publishing

requirements of the novel (screenplay).

Model-Driven Architecture for Story Creation

depicts a blueprint for a new method of story

creation; it is a system engineering method and can

be called as story engineering. This method is

particularly suitable for creative teams, which can

create story works efficiently and effectively

through the sharing of information, reuse of models

and the cooperation. A series of related software

tools in the architecture will help the writers or

creative teams better.

4 RELATED WORK

There have been numerous researches on story

creation methods, which are mostly genre-specific.

Brooks (2011) proposed the concept of story

engineering, emphasizing the core competencies of

writing story texts, but in fact it is still a method of

genre-specific writing.

A number of computer-aided story creation

software (tools) have emerged (Wikipedia, 2018).

Final Draft is a screenplay editing software that can

assist writers in writing standardized screenplay. The

core functions of Celtx, Movie Magic Screenwriter,

Power Structure, Story Expert, Plot Control, Movie

Outline, and Power Writer are all aimed at a specific

story genre (screenplay), providing a comfortable

writing and editing environment for writers. Writer’s

Café (Anthemion Software Ltd, 2016) and

WriteItNow (Ravenshaw Services Ltd, 2018)

support the early design of the story and can

describe events, characters, places, and other

elements. The emphasis of Writer’s Café is the

description of events, and only sequence

relationships are defined between events.

WriteItNow can represent the relationship between

characters and events simply, but it cannot describe

the relationship between events in a visual way. To

sum up, almost all the current computer-aided story

creation tools are genre-specific, which is different

from our method that a variety of genre-specific

models can be built based on the same conceptual

model.

Interactive storytelling (Nunes et al., 2017) is a

new form of digital entertainment in which the

storyline is not predetermined. The writer creates the

setting, characters, and situation which the narrative

must address, but the user (player) experiences a

unique story based on their interactions with the

story world. Interactive storytelling is a new kind of

narrative; the story world here can be considered as

a story network while what a user experiences is just

a route in the network. The conceptual story model

presented in this paper may be an appropriate means

to model the network.

As the analysis and design approaches, MDA

and conceptual modeling have been used in many

application areas (Kusmenko et al., 2017;

Hammoudi et al., 2018; Karagiannis et al., 2016;

Embley et al., 2011), such as cyber-physical

Systems, enterprise architecture, requirements

engineering, business process modelling, and the

application of conceptual modeling of system story.

The latter introduces storyboarding, actors, scenarios,

tasks and plots in order to describe the usage of

software systems through telling stories, this is

different from our work. As far as we know,

researches similar to ours have not been reported at

present.

Conceptual Story Modeling and Model-driven Architecture for Story Creation

313

5 CONCLUSION

A new domain-specific conceptual modeling

language used in the field of story creation is

presented; it is used to specify CSM. CSM is a

visual platform(genre)-independent model(PIM),

which can be used to represent the events,

characters, settings, and the relationships in a given

world in a high level of abstraction. We developed a

conceptual modeling tool to support the CSM

modeling. Subsequently, based on CSM, by using

the platform (genre)-specific discourses, various

platform (genre)-specific models can be created

through transformation, reconstruction, and

refinement. CSM and PSMs as well as the

corresponding modeling languages, modeling tools

and transformation tools together, constitute an

integrated story creation environment, i.e. Model-

Driven Architecture for Story Creation. We believe

that in the era of Internet and with the rapid

development of the creative industry, it is necessary

to establish and take advantage of the architecture.

The research mentioned in this paper is

preliminary and we will improve and validate it

continuously in the future.

ACKNOWLEDGEMENTS

This research was funded by the National Natural

Science Fund of China (Grant No. 51179146).

Thanks for the contributions that X. Zhang, Z.C.

Wang, Z.Q. Li, Z.X. Guo and H. Zhang had made to

the research.

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