Reviewing Iranian dramas shows a constant effort to create new narratives, but clearly, the results do not completely fulfill their goals due to two major reasons: First, they provide examples which are not within our literary and cultural boundaries (which, at best, has no achievement other than repeating the same western narrative forms and is not very compatible with the taste of Iranians); And more importantly, they try to choose a so-called non-native theoretical framework and apply it to Iranian storytelling, even though the Iranian mindset is completely different from Western epistemology in analyzing and explaining an artwork. Regarding this problem, the current research intends to take a step toward presenting a new strategy for creating an Iranian narrative or drama. Adopting a descriptive-analytical method, we will first build a theoretical framework based on the opinions of one of the prominent local experts, Qasim Hasheminejad, who has made a special effort to formulate an Iranian analytical apparatus concerning both fields of fiction and drama. And secondly, regarding examples, our basic assumptions will be "mystical stories". The findings of the research show that by looking at the essence of Persian literature, its characteristics, and manifestations; it is possible to reach the depth of its tremendous capacities that are evident in the analysis and examples. An art whose inherent distinctive, compared to the characteristics of Western art, makes it unseemly and unpleasant to cover it with a non-Iranian cloak. Apart from its unitary nature and its inner purpose in knowing the eternal beloved; mysticism has expressive, narrative, and even dramatic qualities that can be used as a way of creating new narratives (based on Iranian taste), leading to create “national drama”. A native self-originated drama that is not a follower or copy of any other culture. Among the dramatic qualities in these types of stories, we can mention the course of actions used in the opening, narrative structure, state of the situation, dialogue processing, brevity, theme expression patterns, documentation, believability, and finally the explosive aspect of the ending.