honestrosewater said:
Okay, this may sound far-fetched:
My dream is hard to relate, because I only have an inkling as to how it would work. I want to create, let's say, a 'mechanical procedure' (or set of separate procedures) for 'creative writing'. And not just any writing, but the next Shakespeare. Well, the system will be adaptable, but my version will be the next Shakespeare. Eh, yeah, that's it.
Hopefully, everyone will think I'm crazy and not try to beat me to it.
Are you talking about a program, or simply a plot formula? Plenty of the latter already exist. In fact, there is a 12 step formula for crafting a Shakespearean tragic hero:
1) Man of High Estate.
We have a man of high estate, a king, prince, general, etc. Often, our first views of the hero are skewed through the eyes and views of another, giving us a hint at their potential and greatness.
2) A Flaw in Character.
We then become aware of a driving force within the hero, something that often at least borders on obsession. We will also witness the nature of the inner torment he goes through as he follows his obsession.
3) Intrusion of Time and a Sense of Urgency.
As the inner and outer conflicts the hero faces as he pursues his course intensify, we see time becoming more and more important. A sense of urgency develops with the plot and the conflict that not only creates tension, but also creates the effect of a kind of steamrolling inevitability regarding the hero's fall that he has put into motion himself.
4) Misreadings and Rationalizations.
Contributing to, and furthering the obsession and the control of the tragic flaw, are misreadings, supernatural suggestion, and accident or chance. Things happen a split-second too late: the hero operates on what he believes to be the case rather than what he actually knows to be the case. Soon they are one and the same thing to him.
5) Murder, Exile, Alienation of Enemies and Allies.
As the story continues, conflicts arise which cause the death or alienation of all of the hero's former friends, allies, and/or mentors, eventually removing all forms of support for the hero. He must face things alone.
6) Gradual Isolation of the Tragic Hero.
Soon the hero is isolated, brining on new problems: sleeplessness, rage, confusion, hallucination, and violence.
7) Mobilization of the Opposition.
At some point, the opposing forces must mobilize against the hero in order to bring the tragedy to its conclusion.
8) Tragic Recognition of the Flaw by the Tragic Hero: Too Late.
At some point, the hero must realize the mistake he has made that is bringing about his demise. He must know that he, and he alone, is to blame for his downfall. However, this recognition always comes to late to save the life of the hero.
9) Last, Courageous Attempt to Restore Lost Honor/Greatness.
While the hero's life is forfeit, he does, after Tragic Recognition, receive some chance to redeem himself, at least a little. A display of courage, nobility of the heart, self-sacrifice, something to show us that while he was someone who needed to be defeated, brought down, or even a monster, he had good in him.
10) Audience Recognizes Potential for Greatness.
This is inevitably tied to the hero's attempt to restore his greatness. The audience must recognize what a tragic waste the death of the hero is, what kind of person he could have been had it not been for his mistakes and downfall.
11) Death of the Tragic Hero.
The Hero Must Die. Finito. The End.
12) Restoration of Order.
A central theme to all Shakespearean plays, tragedies and others. The natural order of things must be reestablished.
What wife EVER gets half of her bed? 
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