The Dramatica Dictionary
Developed and Written by
Melanie Anne Phillips and Chris Huntley
Ability Most terms in Dramatica are used to mean only one thing. Thought,
Knowledge, Ability, and Desire, however, have two uses each, serving both as Variations
and Elements. This is a result of their role as central considerations in both Theme and
Character
[Variation] dyn.pr. Desire<-->Ability being suited to
handle a task; the innate capacity to do or be Ability describes the actual
capacity to accomplish something. However, even the greatest Ability may need experience
to become practical. Also, Ability may be hindered by limitations placed on a character
and/or limitations imposed by the character upon himself. syn. talent,
knack, capability, innate capacity, faculty, inherant proficiency
[Element] dyn.pr. Desire<-->Ability being suited to
handle a task; the innate capacity to do or be An aspect of the Ability element is
an innate capacity to do or to be. This means that some Abilities pertain to what what can
affect physically and also what one can rearrange mentally. The positive side of Ability
is that things can be done or experienced that would otherwise be impossible. The negative
side is that just because something can be done does not mean it should be done. And, just
because one can be a certain way does not mean it is beneficial to self or others. In
other words, sometimes Ability is more a curse than a blessing because it can lead to the
exercise of capacities that may be negative syn. talent, knack, capability,
innate capacity, faculty, inherant proficiency
Acceptance [Element] dyn.pr. Non-acceptance<-->Acceptance
a decision to allow, tolerate, or adapt; a decision not to oppose Acceptance
is simply allowing something without opposition. Of course, this can eliminate many
potential conflicts by refusing to stand against inequity. On the other hand, that might
build an internal inequity if one cannot truly adapt and merely tolerates. In addition, if
the source of the inequity keeps churning out trouble Acceptance will allow that negative
process to continue unencumbered syn. acquiescence, tolerance, allowance
for, consent, submission
Accurate [Element] dyn.pr. Non-accurate<-->Accurate
being within tolerances Not all concepts work everywhere or all the time.
When an understanding has limitations, it can still provide a useful way of looking at the
specific issues. The more accurate an understanding, the more one can apply it with
certainty. When the Accurate element comes into play it will lead to accepting rough
approximations that are "within tolerance" or "good enough" for the
purpose at hand. The advantage is that little energy is wasted on "the law of
diminishing returns." The disadvantage is that appraising things as Accurate can lead
to gross generalizations in which important or dangerous considerations slip though the
cracks. syn. within tolerance, sufficient, adequate, acceptable, passable
Act [Structural Term] The largest sequential increments by which
the progress of a story is measured an Act is a noticeable shift or division in the
dramatic flow of a story which is created by the convergence of dynamics pertaining to
Character, Theme, and Plot. These dynamics are represented in Dramatica by a sequential
progression through different categories of subject matter called Types. Each of
the four throughlines has four different Types of subject matter. For example, one
throughline's Types might be Learning, Understanding, Doing, and Obtaining. If we look at
each Type as a signpost along a road, then Learning would describe where that
throughline's story began and Obtaining where it ended. Between the four signposts are
three journeys. In our example, a journey from Learning to Understanding, Understanding to
Doing, and Doing to Obtaining. In a story, an author usually designs the structure by
setting up the signposts. An audience experiences the story by taking the journey. So, in
a sense, and author works with a four act (four signpost) structure, and an audience
perceives a three act (three journey) structure. Since both co-exist, the meaning of the
term "Act" changes depending upon how one is coming to a story.
Action [Plot Dynamic] in terms of the objective plot,
actions force decisions All stories have both Action and Decision, however one will
take precedence over the other. Traditionally, one might define an Action story as having
more Action or more intense Action than a Decision story. This view is overly influenced
by how the story is told rather than what it represents. Dramatica takes a different view
of Action and Decision. Either Actions force the need for Decisions or Decisions force the
need for Actions in order to advance the plot. Over the course of the story as a whole, if
Actions precipitate the progression of the plot, it is an Action story. The question to
ask in regard to any particular story is which comes first to move the story along?--not
which is there more of, for even if Action kicks things off, a small Action may be
followed by great quantities of deliberation. In such a story, although Action is the
Driver, one would hardly call it an Action story in the traditional sense. Action stories
will begin with an Action, be marked at the beginning and end of every Act by an Action,
and will end with a climactic Action. In an Action story, the story will eventually slow
and dwindle until another Action occurred.
Actual Dilemma [Overview Appreciation] The Main
Characters decision to change results in success In an Actual Dilemma story,
the Main Character can must adopt a new path in order for the Goal to succeed. If he stays
on course, the Goal is doomed to failure. Of course, the Main Character cannot see the
future and therefore can never be sure if he should change or not. That is why Main
Characters must often make a "leap of faith" at the moment of climax and decide
to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his
Resolve of Changing or Remaining Steadfast, however it is still must be made clear which
way hes gone by the end of the story. In stories where the Main Character Changes
and succeeds as a result, the Dilemma was Actual, rather than merely Apparent.
Actual Work [Overview Appreciation] The Main
Characters decision to remain steadfast results in success In an Actual Work
story, the Main Character must stay on course in order for the Goal to succeed. If he
adopts a new path, the Goal is doomed to failure. Of course, the Main Character cannot see
the future and therefore can never be sure if he should change or not. That is why Main
Characters must often make a "leap of faith" at the moment of climax and decide
to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his
Resolve of Changing or Remaining Steadfast, however it is still must be made clear which
way hes gone by the end of the story. In stories where the Main Character Remains
Steadfast and succeeds as a result, the need for Work, was Actual, rather than merely
Apparent.
Actuality [Element] dyn.pr. Perception<-->Actuality
objective reality; the way things are Actuality refers to the true state of
things. A character who represents Actuality sees right through image and pretense,
preferring to get to the heart of the matter. It also will not accept foregone conclusions
until they have materialized. It feels that without substance there is no meaning. The
problem is that anything that does not meet its strict definitions is ignored as
irrelevant. It is often surprised when the undefined or unformed turns out to be very real
syn. the true state of things, objective reality, factuality, demonstrable
existence, demonstrable reality
Analysis [Variation] dyn.pr. Strategy<-->Analysis
evaluation of the situation and/or circumstances Analysis sits on one side
of planning and strategy sits on the other. Analysis is the interpretation of available
data in order to establish the approach most likely succeed. If the Analysis is faulty, it
limits the potential of a Strategy. If a Strategy is faulty, it limits the effectiveness
of Analysis syn. evaluation, examination, breakdown of situation, close
investigation, scrutinization
Antagonist [Archetype] An archetypal character who
is in every way opposed to the Protagonist Antagonist and Protagonist are
diametrically opposed. What the Protagonist pursues, the Antagonist seeks to avoid or
prevent. Together, Antagonist and Protagonist form a Dynamic Pair centered around the
story's Goal. In order for one to succeed the other MUST fail.
Apparent Dilemma [Overview Appreciation] The Main
Characters decision to change results in failure In an Apparent Dilemma
story, the Goal will fail if the Main Character adopts a new path. For the Goal to succeed
he must stay on course. Of course, the Main Character cannot see the future and therefore
can never be sure if he should change or not. That is why Main Characters must often make
a "leap of faith" at the moment of climax and decide to Change or Remain
Steadfast. Other times, the Main Character is slowly drawn towards his Resolve of Changing
or Remaining Steadfast, however it is still must be made clear which way hes gone by
the end of the story. In stories where the Main Character Changes and fails as a result,
the Dilemma was merely Apparent, not Actual.
Apparent Work [Overview Appreciation] In an Apparent Work
story, the Goal will fail if the Main Character stays on course. For the Goal to succeed
he must adopt a new path. Of course, the Main Character cannot see the future and
therefore can never be absolutely sure if he should change or not. That is why Main
Characters must often make a "leap of faith" at the moment of climax and decide
to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his
Resolve of Changing or Remaining Steadfast, however it is still must be made clear which
way hes gone by the end of the story. In stories where the Main Character Remains
Steadfast and fails as a result, the assessment that only Work was needed was merely
Apparent, not Actual
Appraisal [Variation] dyn.pr. Reappraisal<-->Appraisal
a limited initial assessment Not everything requires a complete evaluation.
In fact, we are assualted by many new observations that we cannot possibly evaluate each
fully. Instead, we make an Appraisal of what we encounter and use that limited assessment
to determine our response, if any. This approach as the advantage of allowing us to deal
more or less effeciently with an onslot of iimpressions and experiences. Of course, since
this Appraisal is based on limited evidence, the real picture may be quite different than
the thumbnail sketch. Yet, people are strongly influenced by first impressions and can
become attached to an Appraisal without ever reconsidering it to see if it was incomplete
or if things have changed. syn. first impression, preliminary understanding,
initial approach, initial assimilation.
Appreciations story points; dramatic concepts Appreciations are
items of dramatic meaning that are common to all stories. Meaning is created when an
identifiable topic is seen from a particular point of view. This creates perspective which
takes into account both the observation and the observer. In complete stories, there are
four principal viewpoints at work: Objective Story, Main Character, Obstacle Character,
Subjective Story. Each viewpoint has its own unique Appreciations, though they parallel
and match item for item the Appreciations from another viewpoint. In addition, some
Appreciations are from a wider view, describing the relationship among the viewpoints and
the dramatic results of their combined perspectives. In this manner, a story structure
built from these Appreciations will cover all the topics and viewpoints necessary to fully
explore an issue central to them all. Common Appreciations include such dramatic items as Goal,
Requirements, Problem, Concern, and Outcome.
Approach [Character Dynamic] The Main Characters
preferred method of general problem solving as a "Do-er" or "Be-er"
By temperament, Main Characters (like each of us) have a preferential method of
approaching problems. Some would rather work things out externally, others would rather
work things out internally. There is nothing intrinsically right or wrong with either
approach, yet it does affect how one will respond to problems. Choosing "Do-er"
or "Be-er" does not prevent a Main Character from using either approach, but
merely defines the way he is likely to first approach a problem, using the other method
only if the first one fails.
Approach [Variation] dyn.pr. Attitude<-->Approach
technique or methodology Approach is the manner in which a character seeks
the solution to a problem. It might be though of as his style or modus
operendi. It might
be a specific method or just a general set of tools or guidelines that is consistently
used. These tools can be physical or mental ones, depending upon the nature of the task
and the intended outcome (if any) syn. method, procedure, style, manner,
manner of doing, ones own way.
Archetypal Characters Of all the ways the 64 elements of Character
elements might be grouped, there is one arrangement that is akin to an alignment of the
planets. When all elements from each "family" of like elements are placed in
individual characters, eight Archetypal Characters are created. They are Archetypal
because their homogeneous nature accommodates all levels a character must have to be fully
dimensional, yet line up by content so well there is little internal dissonance.
Archetypal Characters are useful in stories that seek to concentrate on plot, action, or
external themes. This is because they do not "get in the way" or clutter the
Authors purpose. Because they are so predictable, however, Archetypal Characters are
not easily used to explore the human psyche and are most readily employed in stories
designed more for entertainment than message.
Argument [Dramatica Term] the progression of logistic and
emotional meanings that combine to prove a story's message A story's message is
proven by a progression of logistic (dispassionate) and emotional (passionate) meanings
which are created by the interactions of Character, Plot, Theme, and Genre. The
dispassionate argument is the storys contention that a particular approach is the
most appropriate one to solve a particular problem or achieve a goal in a given context.
The passionate argument is the storys contention that one world view is better than
another in terms of leading to personal fulfillment. An author can use his storys
argument to convey his message directly, indirectly by inference, or by making an
exaggerated argument supporting what he is against. (Also see Grand Argument
Story.)
Attempt [Variation] dyn.pr. Work<-->Attempt
applying oneself to something not known to be within ones ability When
there is a question as to the match-up of ones abilities to the demands of a task,
one may still elect to attempt to complete the task. However, sometimes a character will
lose sight of the purpose of the task or underestimated his progress and actually complete
the work while continuing to try beyond the point originally aimed at. Why does one beat a
dead horse? Why does a billionaire struggle to earn one more million? syn. try,
uncertain undertaking, speculative endeavor, dubious effort, endeavor, unlikely venture
Attitude [Variation] dyn.pr. Approach<-->Attitude
demeanor or outlook Attitude describes the manner in which a character
proceeds with an approach. One character might be hard-driven, another laid back. One may
be willing to sacrifice efficiency for the sake of a pleasant approach. Another might
sacrifice pleasure in order to make the approach most efficient. Sometimes an approach can
be pushed too hard or not hard enough. It requires not only the proper approach but the
appropriate attitude to arrive at the solution to a problem. syn. demeanor,
manner of approach, countenance, behavioral outlook, perspective on doing
Attraction [Variation] dyn.pr. Repulsion<-->Attraction
drawing or being drawn to something How hard should one try? How much work
should one do? This is modulated by the Attraction of what one is trying to achieve.
Attraction is a directional factor that indicates what lies ahead is a positive reward.
When a character strives toward a goal, he passes many veils along the way. Each one is a
curtain to the future that must be ripped away to see what lies beyond. Attraction
describes the nature of the curtain itself. Can you judge the pleasure of a book by the
art on its cover? In the parable of the carrot and the stick, Attraction is the carrot.
syn. allure, enticement, charm, captivate, appeal, draw, lure
Authors Proof [Storytelling] the epilogue or
follow-up to a story that proves the "outcome" of the story is real or imagined,
good or bad Technically speaking, the moment of climax in a story is the
intersecting point where the nature of the Main Character crosses paths with the nature of
the objective story. It is here that the course of one, both or neither of them may be
altered by the interaction. The only way an audience can be sure what, if anything, has
changed course is to plot one more dramatic point past the climax, as part of Act 4 to
illustrate the new direction of the objective story and Main Character. This might be the
"?" after the words "The End" in a monster story or a formerly mean
man sharing his sandwich with a stray dog on the way home. The purpose is simply to
illustrate that the suspected effect of the climax has or has not truly resulted in a
change in course. As such, it functions as the Authors Proof and is a key component
of the denouement.
Avoid [Element] dyn.pr. Pursuit<-->Avoid
stepping around, preventing or escaping from a problem Like its counterpart Pursue,
the Avoid characteristic causes a character to be a real self-starter. The difference is
that just as strongly as Pursuit tries to close in on the something, Avoid tries to escape
it. Avoid can take the forms "escape" or "prevent" depending upon
whether the focus of the effort is an object or a process. Avoid might be seen as running
away, but that has its place. And certainly, when seen as "prevent" it might be
applied to stopping something very negative from happening. Of course, it could also
prevent something positive or really just be running away from something that should be
faced. Pursue and Avoid are not value judgments but directions. syn. evade,
dodge, elude, escape, steer clear of, prevent
Aware [Element] dyn.pr. Aware<-->Self-Aware
being conscious of things outside oneself A character that represents
Awareness misses nothing that happens around him. A drawback is he may forget to figure
himself into the equation. syn. outward perceptiveness, external
sensitivity, consciousness of the external, responsive
Backstory [Storytelling] Although often embellished greatly
in the storytelling, Backstory is nothing more than a description of how a Main
Characters justification built up over time, leading him to intersect with the
storys problem, or how a story problem developed over time, leading it to intersect
with the Main Character. Backstory outlines the sequence of events and the combination of
forces that make the Main Character the central connecting point between the subjective
and objective problem. Backstory need not be presented to the audience as it is not
essential to the storys argument about how to or how not to solve a problem.
However, inclusion of Backstory can offer the additional benefits of showing the audience
how to avoid the problem before it becomes a problem. Sometimes Backstory is presented at
the beginning of storytelling, making it appear to be part of the story itself into which
it can smoothly and seamlessly segue. More often, Backstory is explored episodically in
Flashbacks or through other forms of revelation. Sometimes the focus of the storytelling
is on the Backstory itself and the story is told episodically through
flashforwards. Even
more complex implementations not only present Backstory episodically but also out of
order, leaving it to the audience to ultimately put the pieces together and thereby solve
a riddle necessary to solving the problem of the story itself.
Bad [Plot Dynamic] The Main Character ultimately fails in
resolving his personal problems If at the end of the story the Main character is
still nagged by his personal problem, then the judgment of the story can be considered
bad. Even though the effort to achieve the storys goal may result in success, this
is not necessarily a good thing for the Main Character. In fact success might be obtained
in the objective story even though the Main Character fails to resolve his personal
problems. Conversely, the effort to achieve the story goal might end in failure, yet with
the Main Character ultimately overcoming his personal problems. Regardless of whether the
objective story ends in Success or Failure, if the Main Character fails to resolve his
personal problems, the outcome is deemed Bad.
Be-er [Character Dynamic] The Main Character prefers to
work things out internally Every Main Character will have a preference to deal with
problems by either physical effort or by mental/emotional effort. When a Main Character
prefers adapting himself to the environment over working directly in the external
environment to resolve problems, he is a Be-er.
Becoming [Type] dyn.pr. Being<-->Becoming
transforming ones nature Becoming means achieving an identity with
something. This is different from "being" which merely requires posing as
something. To become, one must do more than just pretend to be by mimicking all the traits
of what one wants to become. Rather, one must also lose all those parts of oneself that
are inconsistent with what one wants to become. "Giving up" a part of oneself is
always the hardest part of becoming and the reason so many characters spend a lot of time
"being" without ever becoming syn. embodying, manifesting,
personifying, incarnating, transforming
Being [Type] dyn.pr. Becoming<-->Being
temporarily adopting a lifestyle "Being" is an elusive word, subject to
inconsistent common usage. For purposes of story, Being is meant to describe the condition
of existing in a certain manner. This does not mean that whomever or whatever is being a
particular way is truly of that nature to the core. In fact, it may be put on, as an act
or to deceive. However, as long as there is nothing more or less to the functioning of
person or thing, it can be said to "be" what it appears to be. Stories often
focus on someone who wants to "be" something without actually
"becoming" it. The important difference is that to "be" requires that
all the elements of what one wants to be are present in oneself. To "become"
requires that there are no elements in oneself that are not in what one wants to become
syn. pretending, appearing, acting like, seeming as, fulfilling a role
Benchmark [Type] the indicator of growth, progress, or
degree or concern The Benchmark is a measuring stick which is used to judge
progress in whichever throughline it is operating in. In the Objective Story, it is used
to see how close the Objective Characters think they are to solving their problem. It
describes where they apply their efforts, and thus is where they look to see how it is
coming along.
Blind Spot [Character Appreciation] The motivations of the
Subjective Characters which they are unable to see about themselves Both the Main
Character and the Obstacle Character (who stands in the Main Characters path) are
driven by their particular motivations. In a story, each has a prime motivation that
describes the one issue in each that they cannot see in themselves. It is because
they cannot see it in themselves that it works below the level of their consciousness to
motivate them. Because they cannot see it, it is called a Blind Spot. In a change
character, the Blind Spot is the actual source of the problem common to both the Objective
and Subjective stories. In a steadfast character, the Blind Spot represents what drives
him to become the agent of the common solution to both the Objective and Subjective
stories. In either case, although other characters may see it quite clearly in the Main
and Obstacle Characters, neither Main nor Obstacle can see the Blind Spot in themselves.
Both [Overview Appreciation] both women and men will tend
to empathize with the main character in this story Although there is much common
ground in a story that is appreciated equally by women and men, some dramatic messages
speak to one group more profoundly than the other. One particular area of difference is
the relationship of female and male audience members to the Main Character. In some
stories an audience member will feel Empathy with the Main Character, as if he/she were
standing in the Main Characters shoes. In other stories, an audience member will
feel Sympathy, a less intense emotional attachment, for the Main Character as if the Main
Character is a close acquaintance. The dynamics that control this for women and men are
quite different. "Both" indicates that, as a result of this storyforms
dynamics, both male and female audience members will tend to empathize with the Main
Character. Neither will sympathize.
Catalyst [Variation] The item whose presence always pushes
the story forward toward the climax The Catalyst is what creates breakthroughs and
seems to accelerate the throughline it is affecting. In both the Objective and Subjective
Stories there occur dramatic "log-jams" when things seem to be approaching a
halt. This is when the Catalyst is necessary, for its introduction will either solve the
puzzle thats holding things up or else make the puzzle seem suddenly unimportant so
the story can continue.
Cause [Element] dyn.pr. Effect<-->Cause
the specific circumstances that lead to an effect The character containing the
Cause characteristic is concerned with what is behind a situation or its circumstances.
This can lead it right to the source of trouble, the source of control. However, sometimes
many things came together to create a particular effect. In that case, the Cause
characteristic may fail by either looking for a single source or trying to address them
all while ignoring the option of simply dealing with the effect. syn. reason
for, effector, source, agent, antecedent
Certainty [Element] dyn.pr. Potentiality<-->Certainty
the determination that something is absolutely true The character
representing the Certainty characteristic is not a risk taker. It must be completely sure
before it takes action or accepts information as true. The slightest potential for error
or change will stop it in its tracks. On the plus side, it never goes out on a limb far
enough to break it; on the minus side, it might never get out far enough to get the fruit
either. Many opportunities are lost to it because it hesitates until it is too late.
syn. sureness, definiteness, having no doubts, total reliability,
indisputability, irrefutability, unmistakability, certitude, conviction
Change Character [Character Appreciation] the subjective
character who changes his approach or attitude in a story The Change Character is
the single character who does change in a story in an attempt to resolve his
personal problem. The Change Character must be either the Main Character or the Obstacle
Character but cannot be both. A Change Character cannot tell until the end of the story
whether or not he will change, and even then, a Change Character has no way of knowing
whether or not changing will lead to success or to resolving his personal problem.
However, in every story, either the Main Character or the Obstacle Character will Change
in response to the others Steadfastness and become that storys Change
Character.
Change [Character Dynamic] The Main Character changes his
essential nature while attempting to solve his problems Every Main Character
represents one special character element. This element is either the cause of the
storys problem or its solution. The Main Character cannot be sure which it
represents since it is too close to home. Near the climax of the story, the Main Character
must demonstrate whether he is going to stick with his original approach in the belief
that it is the solution or jump to the opposite trait in the belief he has been wrong. In
"Leap of Faith" stories this will occur during a "moment of truth." In
"Non-Leap of Faith" stories this will occur over the course of the story and be
assessed for Change or Steadfastness in the end of the story. When a Main Character
abandons his original story-long approach for its counterpart, he is said to Change.
Change [Element] dyn. pr. Inertia<-->Change
an alteration of a state or process Change is the force that alters. A
characteristic representing change is quick to adapt but also cannot leave well enough
alone. It feels that if things have been one way long enough to establish a pattern, it is
time to change it. syn. altering, altering force, modify, reshape, adjust,
adapt
Chaos [Element] dyn.pr. Order<-->Chaos
random change or a lack of order Chaos is disorder, randomness, anarchy. The Chaos
characteristic is brilliant at cutting through a Gordian knot. But then it just keeps
cutting every rope it sees until the chandelier falls on its head. It "stirs the
pot" just to see what will bubble up to the top. syn. randomness,
anarchy, disorder, formlessness, noncohesion
Chapter [Dramatica Definition] a temporal unit of dramatic
construction usually employed in books Stories contain too much information to be
grasped in a single moment. As a result, the information is doled out over time in
segments. Each medium gravitates toward its own kind of segments. Books, especially
novels, usually employ Chapters. Chapters may represent complete dramatic
explorations of one aspect of the overall story or they may be more arbitrary divisions,
determined by changes in location, changes in central characters, or changes in
storytelling mood or style. In fact, the Chapters in a single book may vary in what
defines each one. The principal use of Chapters is to break the unfolding of a story into
portions of a like nature which are small enough to be considered at one time by the
audience. In this way, the audience is able to arrive at an understanding of parts of a
story along the way, rather than waiting until the end of the whole. In a practical sense,
Chapters allow the audience to digest a complete thought before moving on to another. In
books, this provides the audience a convenient pause point with an accompanying sense of
closure when reading intermittently.
Character [Dramatica Definition] In Dramatica, there are
two major divisions of Characters: the Subjective Characters and the Objective Characters.
In the most frequently told kinds of stories, Subjective Characters are the smaller group,
consisting of only the Main Character and the Obstacle Character. Both of these are
concerned with providing the audience with a Subjective view of the story. There can be,
and frequently are, many more Objective than Subjective Characters. An Objective Character
is defined as a specific collection of dramatic Elements or characteristics that
remains consistent for the entire story. There are sixty four elements in the Dramatica
Structure which represent the building blocks of Characters. All sixty four elements must
be used to fully develop the storys argument. To have meaning to an audience, the
group of elements that makes up each objective character must present a consistent
viewpoint (with regards to the story goal/problem) during the course of the story. In this
way the relative attributes of each of these elemental approaches can be clearly explored
during the course of the story. Sixty four elements may at first sound too limited to
create interesting characters, but when you consider that the number of arrangements of
the elements is multiplied by the way the might be grouped, the total number of characters
that can be created is in the millions. In regard to story, the Objective Characters
present the story to the audience and the Subjective Characters allow the audience to
participate in the story. Because of this, Subjective Characters are unique in that they
do double duty by having a special relationship with the audience and pulling their weight
as Objective Characters as well. This is because they are concerned both with the Main
Characters personal problem and also the Objective Story problem.
Character Dynamics [Dramatica Definition] dramatic
potentials which determine a Main Character's Resolve, Growth, Approach,
and Mental Sex.. Some characters are used for entertainment purposes only.
Others have dramatic functions they fulfill. Of those that have functions, the Main
Character is the most important for it represents the audience position in the story. As a
result, the audience sees more of the forces that drive the Main Character than of any
other. These forces are the Character Dynamics. There are four primary Main Character
Dynamics, each of which provides the audience with a different kind of information about
how it relates to that character. Main Character Resolve determines if the Main
Character will ultimately Change or Remain Steadfast in regard to the central issue of the
story. Main Character Growth determines if the audience will, in regard to the Main
Character, be waiting for something to Start or Stop in the story. Main Character Approach
determines if the Main Character is a Do-er or Be-er by preference. And Main Character Mental
Sex determines if the Main Character uses Male or Female problem solving techniques.
Choice [Variation] dyn.pr. Delay<-->Choice
making a decision Choice is simply a decision as to which is the best path
toward resolving a problem. A character will ponder all the information and factor in all
his feelings and arrive at a decision. Sometimes a character will choose before all the
information is in. This can lead him to take steps that may ultimately prove to be
counter-productive or even self-destructive. On the other hand, such intuitive leaps can
bypass a number of obstacles on the way to a storys conclusion. Still, "snap
judgments often lead to regrets for those whose only exercise is jumping to
conclusions." -- Dramatica fortune cookie syn. decision, selection,
determination, pick
Circumstances [Variation] dyn.pr. Situation<-->Circumstances
an emotional assessment of one's environment Circumstances describes the way
a character feels about his environment. Whereas Situation is rated in terms of
satisfaction, Circumstances are rated in terms of fulfillment. Emotion, therefore, is the
standard of measurement a character uses to evaluate his Circumstances. Often a character
must accept unfulfilling Circumstances because he needs the benefits of the Situation. Or
a character may accept an unsatisfying Situation because it comes with fulfilling
Circumstances. Over the course of a story, the balance between the two measurements can
vary greatly. syn. how things stand emotionally, emotional evaluation of the
environment, value of existing conditions, relationship to others
Class [Structural Term] The broadest, most
genre-like classification of a story's structural nature The possible places where
problems can exist can be divided into four areas, and we call these areas the four
Classes. The Classes are separated by distinctions between inner and outer states and
processes. Universe and Physics represent external states and processes respectively, and
Mind and Psychology represent internal states and processes respectively. Though Classes
have the same names as Domains, they represent only a structural ordering of semantic
terms and are not the same as Domains which are more dynamic appreciations created by
matching a Class with one of the four throughlines.
Closure [Variation] dyn.pr. Denial<-->Closure
bringing something to an end or to completion Closure can be seen in two
ways. One, it can be an ending. In this sense, it prevents what has happened from being
changed; it protects a memory or a situation because the window of opportunity for change
has ended. In the other sense, Closure can be seen as a continuance. This is because a
process made into a closed loop will just go on forever, repeating the same course. In
some stories Closure settles all the dramatic potentials to show that the issue of the
story has been resolved. In other stories, Closure is used to show that even though the
immediate problem has been resolved, the volatile relationships among the characters is
never-ending. Closure is useful in letting one know when the job is done. Negatively,
Closure tries to bring everything to a conclusion even if it is a continuously growing
process that is completely open-ended. The attempt to stop such an evolution would be
either fruitless or disastrous. But is a process closed or not? When is a career at an
end? syn. finishing, completion, resolution, recursive
Commitment [Variation] dyn.pr. Responsibility<-->Commitment
a decision to stick with something regardless of the consequences A
commitment forms the essence of the steadfast character. When a character makes a
commitment, it is a decision not to quit regardless of the obstacles that may come. This
allows the character to accept much higher costs on the way to a goal than he would if he
re-evaluated every time something went wrong. A problem arises, however, when one of those
obstacles turns out to be impassable. If a character reaches this point, he cannot achieve
the goal. But since he is Committed, he does not re-evaluate and instead continues to beat
his head against a brick wall. syn. dedication, devotion, steadfastness,
zeal
Companion Pair [Structural Term] In any given quad, the two
top items share a relationship between them in the same way the bottom two share a
relationship. What separates the two pairs is what dramatic focus they create. Each pair
in each quad will be focused in a slightly different place, creating a gradual shift in
the model from one point of view to its opposite. In many quads, the top pair will appear
to be more oriented toward the environment in comparison to the bottom pair which is more
oriented toward the mind. Either the top or bottom pair can be referred to as a Companion
Pair, meaning that the two items that make up the pair are companion rather than in
conflict.
Complex Characters Whenever even a single element is added or removed or
swapped in an Archetypal character, that character becomes Complex. The more elements that
differ from the Archetypal, the more complex the character becomes. Characters in a story
need not all be Archetypal or all be complex. Making some characters more complex than
others is a valuable storytelling tool that allows for more exploration of certain areas
of the story while underplaying others.
Conceiving [Type] dyn.pr. Conceptualizing<-->Conceiving
coming up with an idea Conceiving is the process of arriving at an idea.
If there were no artificial light in the world, one might conceive the need for some form
of electric torch. That would be conceiving. But the design of an actual incandescent bulb
versus a fluorescent one would require conceptualizing a specific implementation of the
idea one has conceived. Conceiving need not come before conceptualizing. For example, a
common dramatic technique is to give a character a very clear mental image of an object or
arrangement that holds the solution to the storys problem. But the character does
not know the solution lies in the conceptualization. It is only when he finally conceives
of the need for a particular kind of solution that he realizes he had the answer all
along. Simply put, Conceiving defines the question, Conceptualizing clarifies the answer
syn. originating, inventing, devising, engendering, hatch ideas
Conceptualizing [Type] dyn.pr. Conceiving<-->Conceptualizing
visualizing how an existing idea might be implemented Conceptualizing means
coming up with a practical implementation of an idea. It is not enough to simply have the
idea. To conceptualize, one must develop an actual mental model of how such an idea might
be made manifest. In other words, one might have an idea to build a spacious house. But to
conceptualize the house one must imagine everything that makes up the house -- the design,
the layout, the colors and textures, everything that is essential to understanding what
that specific house is. A character that deals with conceptualizing would be well aware of
the kind of solution that will eliminate the problem but spend his time trying to devise a
specific way of achieving that solution syn. visualizing, imagining,
envisioning, visualizing implementation
Concern (Objective Storyline) [Type] the goal or purpose
sought after by the objective characters The Objective Story Concern is the area
which all the Objective Characters are hoping to have a good grasp of by the end of the
story. Their goals and purposes will all share some aspect of the Type item which is their
storys concern. There is also a Subjective Story Concern which is the area of
concern between the Main Character and the Obstacle Character. This is also a Type item
which describes the nature of what the Main and Obstacle Characters are seeking from each
other.
Conditioning [Variation] dyn.pr. Instinct<-->Conditioning
responses based on experience or training Conditioning describes learned
responses to various stimuli. Similar to Instinct in that the Consciousness in not
involved until after the fact, Conditioning differs insofar as it was not inherent in the
basic nature of a character but acquired though training or familiarity to impose its
triggers on the mind. Since Instincts are intrinsic and Conditioning is learned, they
frequently come in conflict over how to respond. This concept alone has provided the theme
for many intriguing stories. syn. habituation, trained response, accustomed
response, adaptive adjustments
Confidence [Variation] dyn.pr. Worry<-->Confidence
belief in the accuracy of expectations Confidence points to the future. It
is not a rating of the present situation but a positive evaluation of how things will turn
out. Confidence, therefore, is a great motivator in unknown situations. This is because
Confidence is not based on predicting a situation but on the experience of past
situations. The downside is that Confidence erodes the motivation to prepare for the
unexpected. If past experience has always shown that even the most threatening disasters
have worked themselves out, then one will ignore potential danger that may turn out to be
real. We see this in history time and time again, such as the way the people of Pompeii
remained in their homes while Vesuvius bellowed smoke for the umpteenth time. syn.
hopeful prospects, positive expectations, faithful anticipation, optimism
Conscience [Element] dyn.pr. Temptation<-->Conscience
forgoing an immediate pleasure or benefit because of future consequences
Conscience is the motivation that negative consequences are unavoidable if a present
desire is acted upon. Conscience can serve a character well in overcoming strong transient
desires that would bring disasters upon him. If the negative consequences are purely
imaginary, however, Conscience constricts the free expression of ones heart . syn.
forgoing for fear of consequences, forgo, forbearance, temperance, abstinence,
restraining oneself
Conscious (The Conscious) [Type] dyn.pr. Memory<-->Conscious
present considerations When one has all the facts, knows all the impact --
both positive and negative; when one is fully aware of detrimental consequences and still
decides on the poor course of action, there is something wrong with the way one arrives at
conclusions. This is the subject of stories focusing on the Conscious. The key here is not
to redefine who a character is but to lead him to relearn how to weigh an issue so his
conclusions are less destructive to himself and/or others. syn. considerations,
sensibilities, cognizant, ability to consider, sensible, informed contemplation,
contemplation
Consequence (Objective Storyline) [Type] The result of
failing to achieve the goal For every goal there is a consequence. Consequence
describes the results of failing to achieve the goal. This predisposes the goal to be
something desirable but this is not necessarily true. Sometimes the difference between
goal and consequence can be one of choosing the lesser of two evils. More optimistically
put, goal and consequence might be measures of magnitude of two favorable outcomes.
Sometimes the Consequence will occur if the goal is not met, other times the consequence
already exists and can only be eliminated by meeting the goal. So if they are close in
their negative or positive value, it may be difficult to be sure which is the consequence
and which is the goal. An easy way to be certain is to see which one the Main Character
hopes to achieve.
Consider [Element] dyn.pr. Reconsider<-->Consider
weigh pros and cons A Consideration is the act of deliberation. A character
possessing the Consideration characteristic keeps pondering an issue, running it over in
his mind. Once he has latched onto a topic, he refuses to let it go until it is resolved.
This trait aids in keeping ones motivations impervious to erosion. On the other
hand, the Consideration characteristic may not let sleeping dogs lie. Therefore it can
lead to stirring up all kinds of negative reactions. syn. deliberate,
contemplate, ponder, weigh in the mind, mull
Contagonist [Archetype] An Archetypal Character
representing the qualities of temptation and hinder A concept unique to
Dramatica,
the Contagonist is the character that balances the Guardian. If Protagonist and Antagonist
can archetypically be thought of as "Good" versus "Evil," the
Contagonist is "Temptation" to the Guardians "Conscience."
Because the Contagonist has a negative effect upon the Protagonists quest, it is
often mistakenly thought to be the Antagonist. In truth, the Contagonist only serves to
hinder the Protagonist in his quest, throwing obstacles in front of his as an excuse to
lure him away from the road he must take in order to achieve success. The Antagonist is a
completely different character, diametrically opposed to the Protagonists successful
achievement of the goal
Control [Element] dyn.pr. Uncontrolled<-->Control
directed, constrained The Control characteristic causes a character to
methodically direct its actions and deliberations to the specific purpose at hand. This
leads to a great degree of focus. The drawback is that when one focuses, one loses
peripheral vision. The purpose can become so all consuming that many peripheral yet
essential parts of the equation are ignored until it is too late to save the whole project
syn. regulate, organized management, steer, conduct, guide, manipulate,
focused organization
Cost (Objective Storyline) [Type] the price that must be
paid while meeting the requirements of the goal Requirements are not always met
just by applying effort. Sometimes they involve trade-offs necessitating the acceptance of
loss in another area in order to meet the requirement. The damages sustained in the
process of meeting the requirement are the Cost of achieving the goal. Cost should not be
confused with Consequence. Consequence is a state of things that either exists and will be
vanquished by the goal or will come to exist unless the goal is achieved. In contrast,
Cost builds over the course of the story all the way to the climax. Sometimes by the end
of the story, the consequence of not achieving the goal is far less than the cumulative
cost of achieving it. If there is a single large cost to be paid right at the moment of
the climax, the Main Character may decide he has paid enough already and determine the
goal is just not worth it, electing to stop trying. If there is no large cost at the end,
the Main Character may decide to keep on going for an insignificant goal motivated by the
thought of how much they already invested. In the words of the songwriter/singer Don
McLean, "The more you pay, the more its worth."
Critical Flaw [Variation] The Subjective Character trait
that inhibits or undermines the effectiveness of that Subjective Characters Unique
Ability To balance the Main Characters extraordinary status conveyed by his
Unique Ability, he must also be shown to be especially vulnerable in one area as well.
This vulnerability is called his Critical Flaw. The Main Characters Critical Flaw is
his Achilles heel that prevents him from being too one-sided. Just as with Unique Ability,
the Critical Flaw can be quite mundane as long as it can threaten him with failure from an
unprotectable direction. The specific Critical Flaw must be unique to the Main Character
in the story. However, the more common the Critical Flaw is to the audience, the more it
will identify with the Main Characters predicament. In Start stories, the Critical
Flaw inhibits the Main Character from using his Unique Ability. In Stop stories, the
Critical Flaw undoes the work done by the Unique Ability after the fact. Only when the
Main Character learns to either Start or Stop as required by the story can the Critical
Flaw be avoided, allowing his Unique Ability to solve the problem. The Obstacle Character
in any story also has a Unique Ability which makes him uniquely qualified to thwart the
Main Character. But in his character as well is a Critical Flaw which prevents him from
just totally overwhelming the Main Character. This is again a trait which is unique to
this particular character, but its effects are felt in a different area than the Main
Character Critical Flaw because of the Obstacle Characters different purposes.
Crucial Element [Element] The single dramatic element
that links the Objective and Subjective stories together. The Main Character's decision
regarding the Crucial Element ultimate leads to and Outcome of Success or Failure and a
Judgment of Good or Bad.
Decision [Plot Dynamic] in the plot, decisions force
actions All stories have both Action and Decision. Typically, one defines a
Decision story as having more intense Deliberation than Action. This view is overly
influenced by how the story is told rather than what it represents. Dramatica takes a
different view of Action and Decision. Either Actions force the need for Decisions or
Decisions force the need for Actions in order to advance the plot. Over the course of the
story as a whole (independent of the nature of the Main Character) if Decisions
precipitate the progression of the plot, it is a Decision story.
Deduction [Element] dyn.pr. Induction<-->Deduction
a method of thought that determines certainty Deduction is the process of
thought that arrives at a determination of what is by limiting out all that cannot
be. It has been said, "When you have ruled out the impossible, whatever is left, no
matter how improbable, must be true." The characteristic representing Deduction will
arrive at conclusions by eliminating all competing theories that have holes until only one
remains. This is fine for cutting away the nonsense and discovering understanding, unless
the competing theories were not all the available theories and the real answer was never
even considered. Also, Deduction often fails to look for situations in which alternative
truths exist. A famous story had a detective narrowing down murder suspects only to
discover that they all did it! syn. drawing a conclusion, process of
elimination, demonstrative reasoning, narrowing to a single point
Deficiency [Variation] dyn.pr. Permission<-->Deficiency
appraisal of what is lacking When a character lacks something in the sense
of having Deficiency, he may not even comprehend what he lacks. But this lack drives him
and fulfilling the lack would end the drive caused by the Deficiency. Deficiency is
closely related to Need, but where Needs are always defined by their context and the
purpose which makes them seem necessary, Deficiency does not require a purpose. When a
character lacks, he is NOT content with what he has and REQUIRES something more in order
to become content. Fulfilling a lack may appear to be the last thing a character Needs
because it does not lead to his purpose, but once the lack has been taken care of, a
character may find his purpose has changed and his Need has been eliminated. syn.
inadequacy, insufficiency, deficit, unfulfilled need
Delay [Variation] dyn.pr. Choice<-->Delay
putting off until later Delay is the decision not to make a decision.
Whenever the options are too closely balanced to see a clear path, whenever there is not
enough information to be confident of an outcome, a character will Delay. The purpose is
to wait until one gathers more information or until the situation changes to present a
clear best course. But how long does one wait? And what if something distracts the
character and he forgets to check and see if things have changed? Now the character has
left a problem unresolved, and unless it intrudes upon his thinking, it will never be
thought of again. Yet deep within him, he will be influenced to avoid what created that
problem or to take steps to protect against its recurrence. Until the original problem is
addressed and a choice of path is made, the character will not be free of the
problems influence. syn. put off, retard, postpone, defer, suspend,
prolong, procrastinate
Denial [Variation] dyn.pr. Closure<-->Denial
the refusal to admit to oneself or others that a previously held view is not or is
no longer true Denial is the refusal to accept that something is over, has become
closed, is outdated or was originally misunderstood. How many people continue to make a
point after they have won the argument? More than just not accepting a conclusion, Denial
can also be not accepting that a process will just keep repeating. A repeating process has
a cycle. In a story, a character comes into such a circle at one point and follows it
around back to start. At that point, a theme of Denial would have that character refusing
to believe that he has been just been chasing his own tail. At the leap of faith he will
just push off again and keep on circling a no-win situation in the hopes it will change
this time around. Inertia does not always travel in straight lines. syn. not
accepting, refusal to end, unwillingness to let go, refusal to back down, stubbornness
Dependent Pair [Structural Term] A pair of items whose
relationship is complementary In any given quad, the two items directly above and
below each other are referred to as a Dependent Pair. Since a quad consists of four items,
it therefore contains two Dependent Pairs.
Desire Most terms in Dramatica are used to mean only one thing. Thought,
Knowledge, Ability, and Desire, however, have two uses each, serving both as Variations
and Elements. This is a result of their role as central considerations in both Theme and
Character
[Variation] dyn.pr. Ability<-->Desire the motivation
toward something better Desire describes an awareness that something better exists
than what currently is. This doesnt mean things have to be bad now, just that one
perceives something better. The key word here is "perceives." Desires are based
not on what is truly better but on what one imagines will be better. Often there is a
large gap between the two. (Recall the story of the dog with the bone which jumped into
the pond to get the bone from his reflection and ended up with no bone at all.) Little
tension is produced if a character can try out his desires at no cost. But great tension
is produced when he must give up something good forever in the belief that something else
is better. ("Do you want [desire] whats in the box or whats behind door
number 3?") syn. want, favor, like, covet, prefer, wish, aspire
[Element] dyn.pr. Ability<-->Desire the motivation
toward something better The Desire element is the essence of motivation. A
characteristic representing Desire is mindful of a future in which situation or
circumstances are improved. This does not mean that it is unhappy with what it has but
rather that it can imagine something better. On the plus side, Desire primes the
characteristic to seek to better its environment or itself. On the minus side, Desire is
not always coupled with an ability to achieve that which is Desired. In this case, Desire
may no longer be felt as a positive motivator but as a negative lack and may become a
measurement of ones limitations and constraints syn. drive,
motivational goal, unfulfillment, source of discontent, essence of motivation
Destiny [Variation] dyn.pr. Fate<-->Destiny
the future path an individual must take Destiny is the path to a particular
fate or through a series of fates. Fates are experiences or conditions one must encounter
along the way as ones Destiny directs ones course. The nature of Destiny is
such that no matter how much a character is aware of the nature and location of an
undesirable fate, nothing he can do is enough to pull him off the path. Characters often
try to deny Destiny by jumping to an entirely different path only to discover that all
roads lead to Rome. syn. inescapable path, predetermined trajectory, set
direction of the future, inevitable path, unavoidable trajectory
Determination [Element] dyn.pr. Expectation<-->Determination
a conclusion based on circumstantial evidence Determination is an evaluation
of the forces driving a process. This allows one to anticipate future effects or to take
action to stop or enhance a current effect. However, it may just be that a completely
different set of forces is really behind the process, causing one to put his efforts in
the wrong place. When a person swims directly toward the shore, the current can carry his
far down shore. As long as the character possessing Determination sticks with a particular
concept of the powers that be, there is the potential it may not get what it expects.
syn. ascertaining causes, discovering causes, finding the reasons why,
figuring out factors, discerning antecedents
Dilemma Story or Work Story A comparrison of dramatic approaches in which
Success either requires a Main Character to Change or to Remain Steadfast Work
describes the activities of a Main Character who remains steadfast and resolute throughout
the story. This kind of character believes in the correctness of his approach to the
problem and sticks by his guns come what may. Dilemma describes the situation of a Main
Character who ultimately changes at the end of the story. This kind of character becomes
convinced that he cannot solve the problem with his original approach and adopts a new
approach. So a Work Story is concerned with a Steadfast Main Character and a Dilemma Story
concerns itself with a Change Main Character. However, just because the Main Character has
decided to remain Steadfast or to Change does not mean he made the right choice. Only in
the end will he find out if he succeeded or failed. If in a Work Story the Steadfast Main
Character really should have Changed and fails because he did not, then it was really an
Apparent Work Story since work alone could not solve it. If in a Dilemma Story the Change
Main Character really should have remained Steadfast and fails because he did not, then it
was really an Apparent Dilemma Story since there wasnt actually a dilemma after all.
Steadfast means Work, Change means Dilemma. These are modified by their pairing with
Success, which means Actual, and Failure which means Apparent
Dilemma A problem for which no acceptable solution is apparent
When faced with a Dilemma a Main Character can see no way out. The only options are to
change his very nature by accepting one of the solutions he previously would not, or by
holding out in hopes that, in time, an acceptable solution will present itself.
Circumstanceswill force the Main Character to either Change or Remain Steadfast before the
problem is resolved. The question then becomes, is the dilemma actual, meaning that the
Main Character must Change or Fail, or is the dilemma merely apparent, and by Remaining
Steadfast a previously unknown and acceptable solution will pave the way to Success?
Direction (Objective Storyline) [Element] the apparent
remedy for the principal symptom of the story problem Characters do the best
they can to deal with the Objective Story Problem, but because the Objective Characters of
a story are all looking at the problem from their subjective point of view, they
cant get enough distance to actually see the problem right away. Instead they focus
on the effects of the problem, which is called the Objective Story Focus, and choose to
follow what they feel will be a remedy, which is called the Objective Story Direction.
Direction Element (aka Perspective Element) A Subjective Character can
never be sure if what he believes to be the source of the problem really is the
source of the problem. Regardless, based on his belief he will determine a potential
solution or Direction in which he hopes to find the solution. The dramatic unit that
describes what a Subjective Character holds as the path to a solution is his Direction
Element.
Disbelief [Element] dyn.pr. Faith<-->Disbelief
the belief that something is untrue Disbelief is not the same thing as a
lack of faith. Lack of faith is the absence of absolute confidence that something is or
will be true. Disbelief is absolute confidence that something is not true. Disbelief may
make one a skeptic but sometimes it makes a character the only one with the confidence to
tell the Emperor "You have no clothes!" syn. refusal to accept,
distrust, find unconvincing, find false, unpersuadability
Dividend (Objective Storyline) [Type] the benefits gathered
while meeting the requirements of the goal Although meeting the requirements of a
goal can incur costs, it can also provide dividends along the way. Sometimes solving one
of the pre-requisites or attaining one of the pre-conditions of the requirement has its
own reward. Though these rewards are not individually as significant as the promised
reward of the goal, sometimes cumulatively they are enough to cause a Main Character to
quit while hes ahead and avoid a particularly large cost that would be unavoidable
if the goal were to be achieved. Other times, a particularly large dividend may loom just
ahead in the story, providing the Main Character with a boost in motivation to continue on
an otherwise costly path
Do-er [Character Dynamic] As an approach, the Main
Character prefers to adapt his environment to himself Every Main Character will
have a preference to deal with problems by either physical effort or by mental/emotional
effort. When a Main Character prefers working in the external environment, he is a
Do-er.
Doing [Type] dyn.pr. Obtaining<-->Doing
engaging in a physical activity Doing is the process of being physically active. In
and of itself, Doing does not require any purpose but simply describes engaging in a
process, task, or endeavor, whether for pleasure or by necessity or compulsion. syn.
performing, executing, effecting action, acting
Domain [Domain] An item that describes the area in which
any one of the four throughlines occurs--Main Character, Obstacle Character, Objective
Story, and Subjective Story There are four Domains in every complete story, each
representing a different perspective in the structure of that story. One is assigned to
the Objective Story Throughline and contains the appreciations attributed to the
dispassionate argument of the story while also describing the area in which the Objective
Story occurs. Another is for the Subjective Story Throughline and contains the
appreciations which concern the passionate argument of the story and describe the
relationship between the Main and Obstacle Characters. The Main and Obstacle Character
Throughlines are each assigned Domains as well, which contain the appreciations attributed
to their character and describe the area in which they each operate. Each Domain is the
matching of a particular Class (either Universe, Physics, Psychology, or Mind) with a
particular throughline (either Objective Story, Main Character, Obstacle Character, or
Subjective Story). Each Domain describes the general area in which the problems of its
throughline will lie and from what perspective the audience will be directed to view those
problems. Domains determine large, genre-like positions in the relationship of audience to
story.
Domain Act Order [Plot Structure] the area in which the
solution to the storys problem is sought, act by act
Doubt [Variation] dyn.pr. Investigation<-->Doubt
questioning validity without investigating to be sure Here Doubt is defined
as the lack of faith that evidence leads to a certain conclusion. This means that even
though evidence supports a particular concept, the character is unwilling to abandon the
belief that alternative explanations can be found. Certainly this approach has the
advantage of keeping ones mind open. But sometimes a mind can be too open. If a
character Doubts too much, he will not accept solid evidence no matter how conclusive.
This can prevent the character from ever accepting the obvious truth and continuing to
labor under a delusion. syn. pessimism, uninformed misgivings, uncertainty,
trepidation, distrust
Dramatica Terms [Dramatica Definition] the names of
dramatic concepts unique to Dramatica, commonly used dramatic terms redefined in Dramatica
The Dramatica theory of story is so wide-ranging that, in some cases, dramatic
relationships and story points are described for which no pre-existing term was available.
To fill this void, several different approaches were taken. Sometimes, words not normally
associated with dramatics were called into service, such as Catalyst and Inhibitor.
Other times, existing dramatic terms were more precisely defined, or redefined to meet a
particular descriptive need, such as Main Character meaning the audience position
in a story and NOT meaning a hero nor a Protagonist. As a last resort, completely new
words were coined to describe unique concepts when no other appropriate words already
existed, such as Contagonist. Although Dramatica's use of terminology is the
biggest hurdle to quick understanding, it is also its greatest strength for it allows the
theory and software to describe dramatics with far greater precision than previously
possible.
Dream [Variation] dyn.pr. Hope<-->Dream
a desired future that does not fall within reasonable expectations Dream describes
a character who speculates on a future that has not been ruled out, however unlikely.
Dreaming is full of "what ifs." Cinderella Dreamed of her prince because it
wasnt quite unimaginable. One Dreams of winning the lottery even though one
"hasnt got a hope." Hope requires the expectation that something will
happen if nothing goes wrong. Dreaming has no such limitation. Nothing has to indicate
that a Dream will come true, only that its not impossible. Dreaming can offer a
positive future in the midst of disaster. It can also motivate one to try for things
others scoff at. Many revolutionary inventors have been labeled as Dreamers. Still and
all, to Dream takes away time from doing, and unless one strikes a balance and does the
groundwork, one can Dream while hopes go out the window for lack of effort. syn.
aspire, desiring the unlikely, pulling for the doubtful, airy hope, glimmer, far
fetched desire
Driver [Plot Dynamic] the kind of activity pushes the
overall story forward, Action or Decision Action or Decision describes what
triggers the story's unfolding and what keeps it going when it runs out of steam. The
primary concern is the kind of storytelling you want to do. If you want action to be
driver of your plot, choose action. If you want decision (deliberation) to be the driver
of your plot, choose decision.
Dynamic Pair [Structural Term] A pair of items whose
relationship is that they are extreme opposites In any given quad, Dynamic Pairs
are represented as two items that are diagonal to each other. A quad consists of four
items and therefore contains two Dynamic Pairs. Their relationship can imply conflict, or
it can imply synthesis. These are the negative and positive aspects of Dynamic Pairs.
Dynamics Dramatic forces that determine the course a story will take.
The power of a story is divided between two realms. First is the structure that
represents the dramatic potentials that exist in character, plot, and theme at the
beginning of a story. Second are the dynamic forces that will act upon the dramatic
potentials to change the relationship between characters, change the course of the plot
and develop the theme as the story unfolds. In Dramatica, choices between alternative
forces such as "Success or Failure" and "Change or Steadfast"
determine the dynamics that will act upon a story.
Effect [Element] dyn.pr. Cause<-->Effect
the specific outcome forced by a cause Effect is the end product of an
effort or series of efforts. One might argue its pros and cons, yet ignore how the Effect
came to be in the first place. On the plus side, concentrating on Effect keeps the effort
focused on the problem or goal. On the minus side, it can lead to beating a dead horse.
Failure may follow if one puts all ones efforts into dealing with the Effect while
ignoring the cause. Should a mayor add to the police force to battle crime or improve
social services? syn. result, consequence, outcome, culmination, the ensuing
Element [Structural Term] There are 64 elements in
each class. The same 64 elements appear in every class, arranged differently by position.
Elements represent the most refined and highly detailed approaches and attitudes in the
attempt to solve the storys problem. Primarily, they are the building blocks of the
characters. To fully argue the thematic message, it must be addressed from all possible
directions. This is accomplished by making sure that all 64 elements are divided among a
storys objective characters. If an element is not used it will leave a hole in the
logic or emotion of the story. If one is used more than once, it will obscure the point by
showing it in two different incarnations. The reason that elements are repeated from class
to class is that they represent the heart of the problem. When all else is stripped away,
the problem must be evaluated by these same building blocks no matter where it was
approached from. The reason that the elements are arranged differently from class to class
is that the way they are grouped depends upon the direction from which the story
approaches them. When the story is approached from a given class, it is like looking at
the problem from a particular direction. All the same elements are seen, but from a
different point of view.
Emotion [Archetype] An Archetype who represents the
motivations of Feeling and Uncontrolled The Emotional Archetypal Character reacts
passionately to turns of events without considering the consequences or best course to
achieve his purpose. Frequently portrayed as a "screamer" or "big dumb
ox" this character is really not stupid. He actually represents feeling and frenzy.
So his nature is to feel deeply about issues but be unable to focus that heartfelt
intensity in any useful direction. Rather, he tends to go off the deep end and thrash out
aimlessly, frequently to the detriment of himself and those around them. Such a character
can prove to be a Trojan horse by storytelling him into the enemys camp where he
will almost certainly wreak havoc.
Empathy Empathy describes the complete identification of the audience
with the Main Character such that the audience sees the story through his eyes.
Ending [Element] dyn.pr. Unending<-->Ending
coming to a conclusion The Ending characteristic causes a character to look
toward the conclusion in every process or situation. He may wish to prevent it or to
hasten it, but his primary concern is when its going to be over. A very useful trait
in dealing with steps or phases. Not very useful if the process or situation is really
un-ending. Since the character representing the Ending characteristic assumes that
everything must end sooner or later, he cannot accept that some things never end. Some
relationships will last a lifetime, come what may. But if one partner believes it can end,
he will always worry, looking for signs of its demise. If he was an Ending person,
Prometheus was sorely mistaken. (Weeds grow back and Rust never sleeps!) syn. conclusion,
finish, completion, termination, close
Enlightenment [Variation] dyn.pr. Wisdom<-->Enlightenment
an understanding that transcends knowledge Not all meaning comes from
experience. The mind has the ability to synthesize abstract truth that has not been or
cannot be observed. When a character is able to come to an understanding of the whole that
exceeds the sum of the observed parts, he is said to be Enlightened. A truly refined
thematic conflict can be explored in the relationship between the practical Wisdom born of
great experience and the aesthetic Enlightenment born of great insight syn. insight,
illumination, intuitive discernment, transcendent comprehension
Equity [Element] dyn.pr. Inequity<-->Equity
a balance, fairness, or stability Equity is balance. The Equity
characteristic makes a character want everything to work out fair and square. He will
spend his time trying to maintain balance and will judge the acceptability of a situation
by its apparent equilibrium. On the downside, he may not realize that without inequity
there is no motivation and hence no progress. Also, there may not be enough to go around.
By "robbing Peter to pay Paul" he might be moving resources back and forth in a
way that stresses the whole system which might crumble from the strain syn. balance,
fairness, parity, equilibrium, level, even
Essence [Overview Appreciation] the primary dramatic feel
of a story A story can be appreciated as the interaction of dynamics that converge
at the climax. From this point of view, the feel of the dramatic tension can be defined.
Dramatic tension is created between the direction the Main Character is growing compared
to the authors value judgment of that growth. A Change Main Character will either
grow out of something or grow into something. In the first case, he possesses a
characteristic that he will let go. In the second case, he adds a new characteristic to
his make-up. But is he correct in stopping something he has been doing or starting to do
something new? This is determined by the authors value judgment of Good or Bad. When
a Main Character Stops doing something Bad, that is positive. When a Main Character Starts
doing something Good, that also is positive. However, when a Main Character Starts doing
something Bad or Stops doing something Good, these are negative. Positive and Negative
affect where the audience places its focus on the story. In a Positive story, the focus is
on the effort to find the solution. In a Negative story, the focus in on the effort to
escape the problem.
Evaluation [Element] dyn.pr. Re-evaluation<-->Evaluation
an appraisal of a situation and/or circumstances Evaluation is the meaning a
character finds in a situation or circumstances. Rather than just grappling with the bits
and pieces, the character creates an understanding of how all the parts fit together. This
gives him a better grasp of how to deal with the issue. The danger is that once he has
Evaluated, the situation or circumstances change, yet he is still using the old evaluation
as a unit of measure. Meanings change over time and need to be updated to maintain
accuracy syn. appraisal, analysis, assessment, survey, examination
Evidence [Variation] dyn.pr. Suspicion<-->Evidence
information supporting a belief Evidence is information one gathers to
develop an understanding about something. When looking at Evidence, a character does not
necessarily have to know exactly what he is looking for, just that the information
pertains to the nature of what he is trying to learn about. As a result, he tends to
examine the Evidence only in terms of whether or not it is something that falls into a
pre-determined category. Therefore, errors can occur when the Evidence (although it
pertains to the subject of interest) actually holds much more information in another area.
This can lead a character to "not see the forest for the trees" because he is
looking at the small picture and ignoring the big one. For example, in a mystery a
detective may be looking for Evidence of who committed a murder, when in truth the victim
died of natural causes which is clearly indicated if the detective had only thought to
look for that syn. proof, indicator, supporting information, corroborating
facts, grounds for belief, substantiation
Expectation [Element] dyn.pr. Determination<-->Expectation
a conclusion as to the eventual effect of a particular cause Expectation is
the projection of what one expects to find at the end of a path. Expectations allow one to
anticipate and make plans for both rewards and troubles. However, if the character
representing Expectation does not occasionally question the basis of his projections, he
may find the world has turned under his feet syn. anticipated results,
eventual outcome, presumed prospects, probable denouement, likely consequences
Expediency [Variation] dyn.pr. Need<-->Expediency
most efficient course considering repercussions It is important not to
consider Expediency as only meaning efficiency. In terms of story, Expediency describes
what a character feels he must do or be in order to avoid potential consequences.
These consequences can come from his environment, in the form of disapproval by others, or
from within in the form of self-recrimination. If the perceived consequences are internal,
Expediency feels like a "moral" pressure but is really the emotional retribution
one flails against oneself for not living up to ones own self-image. If they are
external, Expediency feels like peer pressure or a threat to social standing. Expediency
is as important an emotional motivation as Need is a motivator of reason. Since Expediency
is based on avoiding future punishments or disappointments that may or may not be real,
dramatic tension can be easily created between the subjective and objective views. A way
to think of Expediency is that when it pops up, characters who are being influenced by it
will think of it in terms of "Should." "I should really do this, even
though I may not want to." syn. advisability, convenience, prudent
efficiency
Experience [Variation] dyn.pr. Skill<-->Experience
the gaining of familiarity Experience refers to the cumulative effect of
observing or participating in mental or physical activities until they become familiar.
However, just because the activities become second nature does not mean a character is
necessarily good at them. To excel, a character need both Experience AND the innate Skills
that can be honed by that experience. If either is lacking or deficient, the
characters real ability will be less than its Experiential potential. syn.
familiarization, level of practice, seasoning, accumulated feelings, accumulated
dealings with
Fact [Variation] dyn.pr. Fantasy<-->Fact
belief in something real Fact is something that is truly real as opposed to
just seeming to be real. Of course, from a characters subjective view, when
something seems to be real it is impossible to tell from actual fact. No matter how
strongly a belief, understanding, or knowledge of something is held, subjectively there is
always the possibility some change in the situation or additional information will prove
it to be unfactual. Optical illusions are a good case in point. The moment a character
accepts something as fact is the moment a thematic conflict might begin to grow.
Nevertheless, Fact represents beliefs that turn out to be real. syn. belief
in the genuine, ultimately real beliefs, truly real beliefs, authentic notion, authentic
idea, correct knowledge, correct beliefs
Failure [Plot Dynamic] the original goal is not achieved
Every objective storyline in a Grand Argument Story has at its beginning a desired
outcome to be sought after. Ultimately, the characters will either achieve that outcome or
Fail to do so. The reasons for Failure (and in fact the Failure itself) may not be bad.
For example, in the course of trying to arrive at an outcome, the characters may decide it
was wrong to want it or learn that achieving it would hurt people. Whatever the reason, be
it nobility or no ability, if the outcome desired at the storys beginning is not
achieved, the story ends in Failure.
Faith [Element] dyn.pr. Disbelief<-->Faith
accepting something as certain without proof Faith is a belief in something
without the support of proof. Since the future is uncertain, Faith in ones ability
to arrive at ones purpose is a very strong motivator. However, when one has Faith,
it cannot be argued with since it does not rely on logic or proof. The danger of Faith is
that it does not allow one to determine if obstacles are signs that ones motivations are
misplaced, because the obstacles seem to be tests that must be overcome through steadfast
belief syn. acceptance without proof, steadfast belief, confidence in
unproven, credence, unquestioned trust
Falsehood [Variation] dyn.pr. Truth<-->Falsehood
that which has been shown to be erroneous Falsehood does not mean incorrect
but in error. In other words, what is presented may be absolutely accurate and yet not
reflect what is really going on. Perhaps only a portion of the truth is expressed or more
information than is pertinent causes one to misconstrue. A danger is that Falsehood can
get away from the control of its creator. Once an error has been passed off as truth, some
will continue to accept it as truth even if it is recanted by the person that gave the
False account syn. erroneousness, untruth, erroneous notion, mistaken,
astray, dishonest
Family [Structural Term] In the Dramatica structure, all
units are divided into four major groups according to their most general natures. These
groups are Elements, Variations, Types, and Classes. Each of
these groups is called a Family.
Fantasy [Variation] dyn.pr. Fact<-->Fantasy
belief in something unreal Fantasy is something that although seemingly
real, truly is not. Fantasies exist subjectively so they can either be misinterpretations
of the meaning of actual things or internal fabrications of meanings that are not
accurate. Neither one can be consciously intentional or one would be aware of the untruth
of the Fantasy. Fantasies are not necessarily bad. In fact, they can be the best way for a
character to clarify the nature of his goal. Maintaining the Fantasy allows one to
practice responses so that Fantasy might actually turn into fact. Of course, when one lets
a Fantasy grow such that it extends beyond the goal and into the means of evaluating
progress toward the goal, the Fantasy can become self-sustaining and only imagined
progress is ever made syn. false belief, faith in the imaginary, delusion,
erroneous conviction
Fate [Variation] dyn.pr. Destiny<-->Fantasy
a future situation that will befall an individual The distinction between
Fate and destiny is an important one. Destiny is the direction ones life must take,
Fate is any given moment along that direction. So whereas one can have many Fates, one can
only have one destiny. Fate describes a state of situation and circumstance that exists at
a particular point in time. In other words, Fate is something of an outcome, or perhaps a
step -- just one of a number of Fates along the path of ones destiny. Characters
often either make the mistake of assuming that they have only one Fate and are therefore
stuck with it, or they mistakenly believe they can achieve their destiny without
"passing through" unattractive fates that lie along the path. The nature of a
Fate is that no matter how you try to avoid it, it tracks you. All options that you might
exercise still lead to that Fate. That is what also defines Destiny as the limitations on
free will that force you to arrive at your Fate no matter how you alter what you do or
what kind of person you are. If we all knew the future, there would be no free-will
syn. inevitable events, unpreventable incidents, eventual events, destined
occurrence, destined events, unavoidable situations
Feeling [Element] dyn.pr. Logic<-->Feeling
an emotional sense of how things are going Feeling is the mental process of
seeking the most fulfilling course or correct explanation based on emotion. The Feeling
characteristic believes "ya gotta have heart." It cares not for what is
efficient or even practical as long as it is "feels" right. This makes the
Feeling characteristic very empathetic to the emotional atmosphere in a situation, yet apt
to ignore or pay little attention to necessities syn. empathy, emotional
sensibility, affective outlook, sentiment, emotional assessment
Female Mental Sex [Character Dynamic] The Main Character
uses female problem solving techniques A choice of female creates a Main Character
whose psychology is based on assessing balance. A female Main Character resolves
inequities by comparing surpluses to deficiencies. The manner employed in resolving the
inequity will involve creating a surplus where a surplus is desired, creating a deficiency
where a deficiency is desired, creating a surplus so a deficiency is felt elsewhere,
creating a deficiency so a surplus will be felt elsewhere. Through the application of
ones own force, hills and valleys can be created and filled either to directly
address the inequity or to create a change in the flow of energies that will ultimately
come together in a new hill or disperse creating a new valley. These are the four primary
inequity resolving techniques of a female character. It is important to note that these
techniques are applied both to others and to oneself. Either way, manipulating surplus and
deficiency describes the approach. When selecting female or male, typically the choice is
as simple as deciding if you want to tell a story about a man or a woman. But there is
another consideration that is being employed with growing frequency in modern stories
putting the psyche of one sex into the skin of another. This does not refer only to
the "sex change" comedies but also to many action stories with female Main
Characters (e.g. Aliens) and many decision stories with male Main Characters (Prince of
Tides). When an author writes a part for a woman, he/she would intuitively create a female
psyche for that character. Yet by simply changing the name of the character from Mary to
Joe and shifting the appropriate gender terms, the character would ostensibly become a
man. But that man would not seem like a man. Even if all the specific feminine dialogue
were changed, even if all the culturally dictated manifestations were altered, the
underlying psyche of the character would have a female bias rather than a male bias.
Sometimes stereotypes are propagated by what an audience expects to see which filters the
message and dilutes the truth. By placing a female psyche in a male character,
preconceptions no longer prevent the message from being heard. The word of warning is that
this technique can make a Main Character seem "odd" in some hard to define way
to your audience. So although the message may fare better, empathy between your audience
and your Main Character may not.
Female [Overview Appreciation] women will tend to empathize
with the main character in this story; men will tend to sympathize Although there
is much common ground in a story that is appreciated equally by women and men, some
dramatic messages speak to one group more profoundly than the other. One particular area
of difference is the relationship of female and male audience members to the Main
Character. In some stories an audience member will feel Empathy with the Main Character,
as if he/she were standing in the Main Characters shoes. In other stories, an
audience member will feel Sympathy for the Main Character, as if the Main Character is a
close acquaintance. The dynamics that control this for women and men are quite different.
"Female" indicates that as a result of this storyforms dynamics, female
audience members will tend to empathize with the Main Character. Male audience members
will tend to sympathize
Flashbacks and Flashforwards [Storytelling] Storytelling
techniques for developing the story and the backstory simultaneously Often the
purpose of telling a story is not just to document the effort to solve a problem but to
convey understanding as to how such a problem came to be in the first place. If the author
wants to develop both story and backstory simultaneously during the course of the
storytelling by alternating between them, two primary techniques are available: the
Flashback and the Flashforward. In the Flashback, the story proper is assumed to take
place in the present. Flashbacks then reveal key episodes in the development of the
problem (the Backstory), sometimes in the past, to underscore or contrast specific points
in the story as appropriate and as desired. In the Flashforward, the Backstory is assumed
to take place in the present and the story is revealed to the audience in episodes
illustrating the future outcome of forces presently put into play. In either case, by the
end of the storytelling, both Backstory and Story have been fully illustrated to the
extent desired to convey the intended message
Focus [Element] the principal symptom of the story problem
When a Main Character is at odds with his surroundings, a problem exists between
himself and his environment. The actual nature of this gap between Main Character and
environment is described by the Problem Element. The nature of what is required to restore
balance is described by the Solution Element. This is the Objective view of the problem.
The Main Character, however, is not privy to that view but must work from the Subjective
view instead. From the Subjective view, the problem does not appear to be between
the Main Character and the Environment, but wholly in one or the other. Sometimes a Main
Character is a "Do-er" type and will perceive and first try to solve the problem
in the environment. Other times a Main Character is a "Be-er" who will first try
to solve the problem by adapting to the environment. A "Do-er" focuses the
problem in the environment; a "Be-er" focuses the problem in himself. The Focus
Element describes the nature of how the problem appears to the Main Character when he
places it wholly in one area or the other.
Forewarnings (Objective Storyline) [Type] the indications
that the consequence is growing more imminent Whether or not the Consequences ever
befall the Main Character, there are Forewarnings that indicate their approach and help
force the limit of the story and bring the Main Character to the moment where he can be
assessed in terms of his Main Character Resolve. These Forewarnings could be a quick look
at a growing crack in the dam which no-one sees, or it could be a mad scientist installing
the final component in his doomsday device; however it is represented, its nature will be
described by the Type appreciation of Forewarnings.
Future (The Future) [Type] what will happen or what
will be A story focusing on the Future concerns itself with what will be. This does
not require the story to be "set" in the Future -- only that the Future state of
external and/or internal issues is the subject that is being addressed. A character
centered on Future may be trying to discover what will be or may be trying a achieve a
particular state of affairs down the line. In both the Story and Character sense, the end
is more important than the present although it still may not justify the means syn.
what is to come, what will be, prospect, prospective dyn.pr. Progress
Goal (Objective Storyline) [Type] the central objective of
a story A Goal is that which the Protagonist of a story hopes to achieve. As such,
it need not be an object. The Goal might be a state of mind or enlightenment; a feeling or
attitude, a degree or kind of knowledge, desire or ability. Although it is his chief
concern, the Goal which a Protagonist seeks is not necessarily a good thing for him nor is
it certainly attainable. Only through the course of the story does the value and
accessibility of the Goal clarify. Dramatica points out the nature of Goal that is
consistent with an Authors dramatic choices, but it remains for the Author to
illustrate that nature. For any given category of Goal, an unlimited number of examples
might be created.
Good [Plot Dynamic] If at the end of the story the Main
Character is no longer nagged by his personal problems, the judgment of the story can be
said to be Good The Main Character ultimately succeeds in resolving his personal
problems Even though the effort to achieve the storys goal may result in
success, this is not necessarily a good thing for the Main Character. In fact, success
might be obtained in the objective story even though the Main Character fails to resolve
his personal problems. Similarly, the effort to achieve the story goal might end in
failure yet the Main Character ends up overcoming his personal problems. Regardless of
whether the objective story ends in Success or Failure, if the Main Character succeeds in
resolving his personal problems the outcome is deemed Good.
Grand Argument Story [Dramatica Term] A story that
illustrates all four throughlines (Objective Story, Subjective Story, Main Character, and
Obstacle Character) in their every appreciation so that no holes are left in either the
passionate or dispassionate arguments of that story A Grand Argument Story covers
all the bases so that it cannot be disproven because, from the perspective that it
creates, it is right. There are four views in a complete story which look at all the
possible ways the story could be resolved from all the possible perspectives allowed;
these are represented by the perspectives created by matching the four Domains with the
four Classes--(the Objective Story, Subjective Story, Main Character, and Obstacle
Character Domains matched up with the Classes of Universe, Physics, Psychology, and Mind
to create the four perspectives of the particular story they are operating in). Every
complete storyform explores each of these perspectives entirely so that their view of the
storys problem is consistent and that they arrive at the only solution that could
possibly work, allowing the givens built into the story from the start. When this is done,
a Grand Argument has been made and there is no disproving it on
its own terms. You may disagree that the things it takes for givens really are givens, but
as an argument it has no holes.
Growth [Character Dynamic] The development of a Main
Character toward something starting or stopping The meaning of Growth is different
for Change and Steadfast Main Characters. Change Characters grow by starting or stopping
some quality they lack or possess. Steadfast Characters grow by redoubling their resolve
while working toward or holding out for something to start or stop.
A Change Main Character who Starts adds a quality he previously did not possess. A
Change Main Character who Stops eliminates a quality he originally possessed. At first it
might seem as if the Start Character has a hole in his heart and the Stop Character has a
chip on his shoulder, but just because a Character Changes doesn't mean he should
have. It may well be that if a Change Character Starts, he adds a bad quality that will
undermine his efforts, or if he Changes by Stopping, he will lose a quality that was
essential. For a Change Main Character, Start and Stop merely describes how his character
is altered, not whether or not it was a positive growth.
A Steadfast Main Character sticks with his guns and tries to outlast the problems he
encounters. If he is at odds with current troubles which he would like to stop, then he is
a Steadfast Stop Character. On the other hand, if he is trying to hold out until something
positive begins, he is a Steadfast Start Character. As with the Change Character, the
Steadfast Character may or may not be correct in his appraisal that he can outlast or even
should try to outlast his problems. It may well be that the problems can only be
resolve if the Main Character Changes, in which case holding out for either Start or Stop
is fruitless.
Of course, whenever something begins, it can be seen that something else has ended. The
real question for an author is, how do you want your audience to see things, as half full
or half empty?
Guardian [Archetype] An Archetypal Character
representing the qualities of Conscience and Help This Archetypal character acts as
teacher/helper to everyone including the Protagonist. As Conscience, he provides the
audience with the storys assessment of what is good and bad in the world it
describes. In his Dynamic Pair relationship, the Guardian counterbalances the efforts of
the Contagonist to hinder progress and tempt the Protagonist from the proper path. Since,
according to Archetypal convention, the Protagonist must ultimately face the Antagonist
without assistance, both the Guardian and Contagonist must be dramatically nullified
before the climax of the story so that they cannot interfere. This often occurs as a
separate confrontation between them, just prior to the Protagonist meeting the Antagonist,
or it may occur concurrently, but concludes before the actual climax of the story is
reached.
Help [Element] dyn.pr. Hinder<--> Help
direct assistance to anothers effort The Help characteristic assists
anothers efforts. This can be a real boon to someone struggling to achieve.
Sometimes, however, someone doesnt want any help. He either wants to do it on his
own or what he is trying to do has been misread by the character representing the Help
characteristic who is actually hindering him. Did you hear the one about the Boy Scout who
helped the little old lady across the street and then she bashed him with her handbag
because she had been waiting for a bus? syn. aid, assist, support, bolster,
abet
Hinder [Element] dyn.pr. Hinder<-->Help
undermining anothers effort The Hinder characteristic strives to undermine
anothers efforts. This might be seen as a negative, as it often is. But sometimes a
character functions to hinder an "evil" character, disrupting his plans. Hinder
merely indicates the effect on the plans not whether that is a good or bad thing. syn.
retard, obstruct, impede, fetter, undermine, block, burden, encumber, thwart
Hope [Variation] dyn.pr. Dream<-->Hope
a desired future that falls within reasonable expectations Hope is based on a
projection of the way things are going. When one looks at the present situation and notes
the direction of change, Hope lies somewhere along that line. As an example, if one is
preparing for a picnic and the weather has been sunny, one Hopes for a sunny day. If it
was raining for days, one could not Hope but only Dream. Still, Hope acknowledge that
things can change in unexpected ways. That means that Hoping for something is not the same
as expecting something. Hope is just the expectation that something will occur unless
something interferes. How accurately a character evaluates the potential for change
determines whether he is Hoping or dreaming. When a character is dreaming and thinks he is
Hoping, he prepares for things where there is no indication they will come true. syn.
desired expectation, optimistic anticipation, confident aspiration, promise,
encouraging outlook
Hunch [Element] dyn.pr. Theory<-->Hunch
a conclusion based on intuition A Hunch is an understanding based on insufficient
circumstantial evidence. The phrase "where theres smoke, theres
fire" describes the concept. The advantage is that when evidence mounts, even without
direct connections, one may draw an analogy that has a substantial likelihood of being
correct as in "Ive seen that pattern before!" Of course, a Hunch is merely
a suspicion. The danger is acting upon it as if it were fact. syn. intuition,
premonition, impression, suspicion
Inaction [Element] dyn.pr. Protection<-->Inaction
intentionally taking no action Inaction does not mean simply sitting still.
An Inactive character might choose to allow a course of action by not interfering. Or it
might refuse to move out of harms way, thereby forming a resistance to the progress
that drives the harm. Both of these are efficient tools for altering the course of an
interaction. However, the Inactive characteristic may also drag its feet in all areas and
form a resistance to both good and bad things so that its influence simply hinders
everything but changes nothing. syn. passive reaction, inactive response,
achieve through not doing
Induction [Element] dyn.pr. Deduction<-->Induction
a method of thought that determines possibility Induction is the process of
thought that determines where an unbroken line of causal relationships might lead. The
purpose is to see if it is possible that something connects to something else. The
character containing the Inductive characteristic has an advantage in taking seemingly
unrelated facts and putting them in an order that establishes a potential causal
relationship. This allows him to arrive at conclusions that "limit in" something
as a possibility. The drawback is that the conclusion only illustrates one possibility out
of an unknown number of possibilities. Unlike deduction, Induction does not rule out
competing theories until only one remains. Rather, Induction simply determines that a
particular theory is not ruled out. Problems occur when it is assumed that simply because
a causal relationship might exist that it does exist. This leads to blaming and holding
responsible both people and situations that were not actually the real cause. Only if all
possible Inductions are compared can the likelihood of any single one be determined
syn. postulate, predicate, conjecture, infer, hypothesize, determine possibility
Inequity [Element] dyn.pr. Equity<-->Inequity
an unbalance, unfairness, or lack or equality When a character focuses on
Inequity he is evaluating in terms of what is wrong or unfair with a situation. No matter
how much is working right or how much is good, it is the part that is out of balance that
occupies his attention. A character with this trait will spot trouble before anyone else,
but he will also never be satisfied unless absolutely everything is worked out syn.
imbalance, unfair, disparity, unequal, uneven, disproportionate
Inertia [Element] dyn.pr. Change<-->Inertia
a continuation of a state or process Inertia is a tendency to maintain the
status quo. That which is moving wants to keep moving. That which is at rest wants to stay
at rest. An Inertia-oriented character concerns himself with keeping things on an even
keel. He tries to avoid or prevent anything that rocks the boat. He also does not adapt
well to change. syn. tendency to continue, a change resistant pattern,
continuation, following an established direction
Instinct [Variation] dyn.pr. Conditioning<-->Instinct
intrinsic unconditioned responses Instinct describes those built- in
responses to situations and circumstances that are not learned, yet drive one to comply
with their urges. How much sway they have over an individual depends both upon the nature
of the instinct and the intensity of conditioning against the instinct that he has
experienced by accident, design, or choice. When one acts or responds according to
instinct, there is no conscious consideration beforehand. Only after the fact does the
consciousness become aware that an instinct has been triggered. Nonetheless, one can learn
to inhibit instinctual commands until the consciousness has the opportunity to consider
the propriety of conforming to it. syn. involuntary drive, innate impulse,
unconditioned response, automatic response, unconditioned motivation
Interdiction [Variation] dyn.pr. Prediction<-->Interdiction
an effort to change a pre-determined course Interdiction is the effort to
change the course of ones destiny. Once a character determines that his destiny is
pulling him toward an undesirable fate, he tries to Interdict and thereby avoid the fate.
But has he correctly identified the course of his destiny or in actuality is what he sees
as Interdiction is just another pre-destined step toward his fate? syn. altering
the future, interfering with the predetermined, hindering the inevitable, escaping the
predestined
Interpretation [Variation] dyn.pr. Senses<-->Interpretation
determination of possible meaning Once an observation is made, its meaning
must be Interpreted by the mind. Even if seen exactly as it happened, the forces or
intents behind what is seen are often misconstrued. Stories revolving around eye witness
accounts frequently employ Interpretation (and its Dynamic Partner, Senses) to great
dramatic advantage syn. construe, rendition, rendering meaning, elucidate,
translating meaning
Investigation [Variation] dyn.pr. Doubt<-->Investigation
gathering evidence Investigation is a pro-active word for it describes a
character who makes an effort to seek out evidence. Obviously this usually tends to bring
one closer to a conclusion sooner than without the effort. But Investigation can cause
trouble since the character must pre-determine where to look. This leads to a meandering
path through the evidence that may miss whole pockets of essential information. Sometimes
a single missed piece can flip the entire conclusion 180 degrees. So Investigating to
ones satisfaction depends on random success and the limits of ones tenacity,
not necessarily on learning what the whole picture is. syn. inquiry,
research, probe, sleuthing, delving, query
Issue [Variation] The thematic focus or topic of the Domain
being explored Each of the four Domains: Objective Story, Subjective Story, Main
Character, and Obstacle Character, have a thematic topic which is described by its Issue.
The Objective Story Issue, for example, provides a value standard for judging the
Objective Characters efforts in a story. Whatever kinds of things are done by the
Objective Characters in relation to the Story Goal can be said to be linked thematically
by this particular item.
Judgment [Plot Dynamic] The story assessment of whether or
not the Main Character ultimately resolves his personal problem The notion that the
good guys win and the bad guys lose is not always true. In stories, as in life, we often
see very bad people doing very well for themselves (if not for others). And even more
often we see very good people striking out. If we only judged things by success and
failure, it wouldnt matter if the outcome was good or bad as long as it was
accomplished. The choice of Good or Bad places the authors moralistic judgment on
the value of the Main Characters success or failure in resolving his personal
problems. It is an opportunity not only to address good guys that win and bad guys that
fail, as well as good guys that fail and the bad guys that win, but to comment on the
success or failure of their growth as human beings.
Justification The process by which we establish and maintain givens
All understanding comes from determining connections between processes and results,
causes and effects. All anticipation comes from accepting these connections as unchanging
and absolute. In this manner we are able to respond to new situations based on our
experience and to plan for the future based on our expectations. But our knowledge of our
world and ourselves is incomplete. We are constantly learning and redefining our
understanding and our anticipation. Sometimes we have built up such a complex hierarchy of
experience and expectation that it becomes easier (more efficient) to formulate or accept
what might seem an unlikely and complex explanation than to redefine the entire base of
our knowledge. After all, the enormity of our experience carries a lot of weight compared
to a single incident that does not conform to our conclusions. Unfortunately, once
conflicting information is explained away by presupposing an unseen force it is not
integrated into the base of our experience and nothing has been learned from it. The new
and potentially valuable information has bounced off the mental process of Justification,
having no impact and leaving no mark. This is how preconceptions, prejudices, and blind
spots are created. It is also how we learn, for only by accepting some things as givens
can we build complex understandings on those foundations. Justification also creates the
motivation to change things rather than accept them, but in so doing also creates a blind
spot that keeps us from seeing a solution in ourselves in situations where it would be
better to accept. Because we cannot know if a point of view should be held onto or given
up and reexamined, we have no way of being certain that we are approaching a problem
correctly. But either way, we will not question our Justification, only the propriety of
applying it to a particular instance. In the case of a Main Character who must remain
steadfast, he needs to hold onto his Justifications long enough to succeed with them. But
in the case of a Main Character who must change, he needs to give up his Justifications
and re-examine his basic understanding. Stories explore the relationship of the inequity
between the way things are and the way the Main Character sees them or would have them be.
Then it can be evaluated by the audience as to whether or not the decision to remain
steadfast or change was the proper one. So Justification is neither good nor bad. It
simply describes a mind set that holds personal experience as absolute knowledge, which is
sometimes just what is needed to solve the problem and other times is actually the cause
of the problem.
Knowledge Most terms in Dramatica are used to mean only one thing.
Thought, Knowledge, Ability, and Desire, however, have two uses each, serving both as
Variations and Elements. This is a result of their role as central considerations in both
Theme and Character.
[Variation] dyn.pr. Thought<-->Knowledge that which
one holds to be true Knowledge is something a character holds to be true. That does
not necessarily mean it IS true but just that the character believes it is. The gulf
between what is known and what is true can create enormous misconceptions and inaccurate
evaluations. syn. held truth, maintained information, presumed facts,
accepted ideas
[Element] dyn.pr. Thought<-->Knowledge that which one
holds to be true The Knowledge characteristic urges a character to rely on what is
held to be true. The Character representing Knowledge will tap the resources of its
information to find parallels and understanding that he can apply to the issue at hand.
The advantage of Knowledge is that one need not learn what is already known, thereby
skipping non-essential re-evaluations and getting a head start with solving a problem. The
difficulty is that Knowledge can be wrong. Without re-evaluation dogma sets in -- rigor
mortis of thought, leading to inflexibility and closed minded-ness because the Character
believes no re-consideration is needed since the subject is already "known."
syn. learnedness, held truths, authoritative certainty, generally agreed
upon truths
Leap of Faith Just prior to a story's climax, a conscious choice by the
Main Character to either Change or remain Steadfast with no way of knowing for sure which
will best lead him to his goal or resolve his personal problem No Main Character
can be sure that he will succeed until the story has completely unfolded. Up until that
moment, there is always the opportunity to change ones approach or ones
attitude. For example, a Main Character may determine that what he thought was the true
source of the problem really is not. Or he may reconsider his motivation to try and
resolve it; whether he should give up or try harder. Again, there is no way for him to
tell with certainty which path will lead to success. Nevertheless, when these scenarios
close in on a single moment in the story, the moment of truth, where the Main Character
has their last opportunity to remain steadfast in their approach and attitude or to change
either or both, there will be a Leap of Faith. After that, all that remains is to see it
to its conclusion, good or bad. That moment of truth is called the Leap of Faith because
the Main Character must choose a course and then commit himself to it, stepping into the
unknown with blind faith in a favorable outcome or resignation to an ostensibly poor one.
Learning [Type] dyn.pr. Understanding<-->Learning
gathering information or experience Learning describes the process of
acquiring knowledge. It is not the knowledge itself. When a portion of a story focuses on
learning, it is the gathering of an education that is of concern, not the education that
ultimately has been gathered. Learning need not be an academic endeavor. One might learn
to express ones feelings or learn about love. Learning does not even require new
information as sometimes one learns simply by looking through old information from a
different perspective or with a new approach. It is not important if one is learning to
arrive at a particular understanding or just to gather data. As long as the focus is on
the process of gaining information, Learning is the operative word. syn. cultivating
experience, acquiring information, collecting data, gathering knowledge
Level [Structural Term] One of the vertical strata of the
Dramatica structural chart. The relationship between levels (Elements, Variations, Types
and Domains) of dramatic units is similar to turning up the power on a microscope: each
has a different resolution with which to examine the storys problem. Domains take
the broadest viewand have the greatest structural impact on Genre. Types are more detailed
and most directly affect the Plot. Variations are even more refined, most intensely
inflluencing Theme, and Elements provide the greatest detail available in a story,
concentrating on the qualities or traits of Characters.
Limit [Plot Dynamic] The constraint of time or options
that, by running out, force the story to a climax The Limit is what forces the
story to a close. One of the functions of a story is to give the audience the value of
experiences it has not had itself by living through the Main Character. As such, the Main
Character in the story Changes or Remains Steadfast and hopes for the best, and we learn
from his accomplishments or disappointments. Yet, even a Main Character would not jump
into the void and commit to a course of action or decision unless forced into it. To force
the Main Character to decide, the story provides all the necessary information to make an
educated guess while progressively closing in on the Main Character until he has no
alternative but to choose. This closing in can be accomplished in either of two ways:
either running out of places to look for the solution or running out of time to work one
out. Running out of options is accomplished by an Optionlock; a deadline is accomplished
by a Timelock. Both of these means of limiting the story and forcing the Main Character to
decide are felt from early on in the story and get stronger until the climax. Optionlocks
need not be claustrophobic so much as they only provide limited pieces with which to solve
the problem. Timelocks need not be hurried so much as limiting the interval during which
something can happen. Once an established Limit is reached, however, the story must end
and assessments be made: is the Outcome Success or Failure? is the Judgment Good or Bad?
is the Main Character Resolve Change or Steadfast? etc.
Logic [Element] dyn.pr. Feeling<-->Logic
a rational sense of how things are related Logic is the mental process of
choosing the most efficient course or explanation based on reason. The Logic
characteristic exemplifies the theory behind "Occams Razor," that the
simplest explanation is the correct explanation. Therefore, the Logic characteristic is
very efficient but has no understanding or tolerance that people do not live by reason
alone. As a result, the character with the Logic characteristic often ignores how
others "unreasonable" feelings may cause a very real backlash to his
approach. syn. linear reasoning, rationality, structural sensibility,
syllogistics
Main Character The Character representing the audience position in a
story A story has a central character that acts as the focus of the audiences
emotional attachment to the story. This Main Character is the conduit through whom the
audience experiences the story subjectively. The Main Character may be the Steadfast
Character who needs to hold on to his resolve or the Change Character who alters his
nature in an attempt to resolve his problems. Either way, it is mostly through his eyes
that we see the passionate argument of the story, if not also the dispassionate argument.
Main Characters Benchmark [Type] the standard by
which the degree of the Main Character's growth is indicated the way of telling how
much the Main Character is dealing with the issues at stake for himself in the story is by
choosing an item in the story and using it as a measuring stick. This can be subtle or
obvious, illustrated perhaps by the number of empty beer cans next to an alcoholics
bed, the severity of a facial tick, or the amount of perfume a character puts on. However
it is illustrated, it needs to be there to give both the audience and the Main Character
some way of judging how deep his concern is and how far along in the story he is.
Main Characters Concern [Type] The issue or issues
held in greatest importance by the Main Character The Main Character Concern
describes the kinds of things the Main Character is striving to attain or maintain. This
could be in terms of concrete or abstract things, depending partly on the Main
Characters Domain and partly on the twist the author wants to put on that Domain.
Main Characters Critical Flaw [Variation] the quality
that undermines the Main Characters efforts To balance the Main
Characters extraordinary status conveyed by his Unique Ability, he must also be
shown to be especially vulnerable in one area as well. This vulnerability is called his
Critical Flaw. The Main Characters Critical Flaw is his Achilles heel that prevents
him from being too one-sided. Just as with Unique Ability, the Critical Flaw can be quite
mundane as long as it can threaten him with failure from an unprotectable direction. The
specific Critical Flaw must be unique to the Main Character in the story. However, the
more common the Critical Flaw is to the audience, the more it will identify with the Main
Characters predicament. In Start stories, the Critical Flaw inhibits the Main
Character from using his Unique Ability. In Stop stories, the Critical Flaw undoes work
done by the Unique Ability after the fact. Only when the Main Character learns to either
Start or Stop as required by the story can the Critical Flaw be avoided, allowing his
Unique Ability to solve the problem.
Main Characters Direction [Element] The response of
the Main Character to his apparent problems A Main Character can never be sure if
what he believes to be the source of his problem really is the source of his
problem. Regardless, based on his apparent problems he will determine a potential solution
or Direction which he hopes will work as a solution. The dramatic unit that describes what
a Main Character holds as the path to a solution is the Main Character Direction.
Main Character Domain [Domain] the realm of the Main
Character's personal journey and growth Everything the Main Character does and
represents that primarily relates to him alone, as opposed to specific relationships he
has with other characters, can be said to be part of the Main Character Domain. There are
four different perspectives in the structure of any story represented by the combination
of each of the four Classes with each of the four Domains-- the Objective Story Domain,
the Subjective Story Domain, the Obstacle Character Domain, and the Main Character Domain.
The Main Character Domain describes in the broadest single term what the Main Character
represents and the area in which the Main Character operates within the story.
Main Characters Focus [Element] where The Main
Character believes the problem to be; where the Main Characters attention is focused
When a Main Character is at odds with his surroundings, a problem exists between
himself and his environment. The actual nature of this gap between Main Character and
environment is described by the Problem Element. The nature of what is required to restore
balance is described by the Solution Element. This is the Objective view of the problem.
The Main Character, however, is not privy to that view and must work from the Subjective
view instead. From the Subjective view, the problem does not appear to be between
the Main Character and the Environment but wholly in one or the other. Sometimes a Main
Character is a "Do-er" type and will perceive and first try to solve the problem
in the environment. Other times a Main Character is a "Be-er" who will first try
to solve the problem by adapting to the environment. A "Do-er" focuses the
problem in the environment; a "Be-er" focuses the problem in himself. The Focus
Element describes the nature of how the problem appears to the Main Character when he
places it wholly in one area or the other.
Main Characters Issue [Variation] the Main
Character's personal thematic focus, topic, or value standard A Main
Characters Issue captures the essence of what that character will represent in the
story. The nature of the things he does, intends to do, and what he means to the
passionate argument of the story are all linked in this appreciation.
Main Character Problem [Element] source of The Main
Characters drive; the source of the Main Characters problems In every
Main Character there exists some inequity that is driving him. If the Main Character
Changes something in himself at the leap of faith, it is this item, his Problem, which he
changes by exchanging it for his Solution. If the Main Character is Steadfast, though, he
holds onto his problem, deepening his resolve to keep the same motivations through the end
of the story as he had when he began the story.
Main Characters Solution [Element] what is needed to
truly satisfy The Main Characters drive; the solution to the Main Characters
problems The Solution Element is the "flip side" of the Problem Element.
In a story, the focus may be on the Problem Element ("The Main Character should not
be this way") or the focus may be on the Solution Element ("The Main Character
should be this way"). If the Main Character should not be a certain way, we say it is
a "Stop" story as he must stop being a certain way. If the Main Character should
be a certain way, we say it is a "Start" story as he must start being a certain
way. So in a sense the Problem Element is not by itself the cause of the storys
problem, but works in conjunction with the Solution Element to create an imbalance between
two traits that need to be balanced. The choice to present one as a negative trait defines
it as the Problem Element and its positive partner becomes the Solution Element.
Main Characters Unique ability [Variation] the
quality that makes The Main Character uniquely qualified to solve the storys problem
Just as a requirement defines the specific nature of things needed to achieve a
particular goal, Unique Ability defines the specific quality needed to meet the
requirement. Unique Ability is another way in which the Main Character is identified as
the intersecting point between the Subjective and Objective stories as it is only he who
ultimately has what it takes to meet the test of the requirement and thereby achieve the
goal. The Unique Ability need not be anything extraordinary but must be the one crucial
quality required that is shared by no one else. Frequently, the Unique Ability is in
keeping with the Main Characters position or profession, however it can be much more
interesting to assign an incongruous Unique Ability. In either approach, it is essential
to illustrate the existence of the Unique Ability in the Main Character several times
throughout the story, even if it is not employed until the climax. In this way, it becomes
integrated into the nature of the Main Character and does not seem conveniently tacked on
when it is ultimately needed. Also, the Unique Ability can be extremely mundane. The key
is that the ability does not have to be unique by nature, but just possessed uniquely in
that specific story by the Main Character. Clever storytelling may arrange the climax of
the story so that some completely ordinary and insignificant Unique Ability makes the
difference in the outcome of a cosmic struggle.
Male Mental Sex [Character Dynamic] The Main Character uses
inherantly male (linear) problem solving techniques A choice of male selects a
psychology for the Main Character based on causal relationships. A male Main Character
solves problems by examining what cause or group of causes is responsible for an effect or
group of effects. The effort made to solve the problem will focus on affecting a cause,
causing an effect, affecting an effect, or causing a cause. This describes four different
approaches. Affecting a cause is manipulating an existing force to change its eventual
impact. Causing an effect means applying a new force that will create an impact. Affecting
an effect is altering an effect after it has happened. Causing a cause is applying a new
force that will make some other force come into play to ultimately create an impact. These
are the four primary problem solving techniques of a male minded character. It is
important to note that these techniques can be applied to either external or internal
problems. Either way, manipulating cause and effect is the modus operandi. When selecting
female or male, typically the choice is as simple as deciding if you want to tell a story
about a man or a woman. But there is another consideration that is being employed with
growing frequency in modern stories: putting the psyche of one sex into the skin of
another. This does not refer only to the "sex change" comedies but to many
action stories with female Main Characters (e.g. Aliens) and many decision stories
with male Main Characters (Prince of Tides). When an author writes a part for a
man, he/she would intuitively create a male psyche for that character. Yet by simply
changing the name of the character from Joe to Mary and shifting the appropriate gender
terms, the character would ostensibly become a woman. But that woman would not seem like a
woman Even if all the specific masculine dialogue were changed, even if all the culturally
dictated manifestations were altered, the underlying psyche of the character would have a
male bias rather than a female bias. Sometimes stereotypes are propagated by what an
audience expects to see which filters the message and dilutes the truth. By placing a male
psyche in a female character, preconceptions no longer prevent the message from being
heard. The word of warning is that this technique can make a Main Character seem
"odd" in some hard to define way to your audience. So although the message may
fare better, empathy between your audience and your Main Character may not.
Male [Overview Appreciation] men will tend to empathize
with the main character in this story; women will tend to sympathize Although there
is much common ground in a story that is appreciated equally by women and men, some
dramatic messages speak to one group more profoundly than the other. One particular area
of difference is the relationship of female and male audience members to the Main
Character. In some stories an audience member will feel Empathy with the Main Character,
as if he/she were standing in the Main Characters shoes. In other stories, an
audience member will feel Sympathy for the Main Character, as if the Main Character is a
close acquaintance. The dynamics that control this for women and men are quite different.
"Male" indicates that as a result of this storyforms dynamics, male
audience members will tend to empathize with the Main Character. Female audience members
will sympathize.
Memory [Type] dyn.pr. Conscious<-->Memory
recollections The Past is an objective look at what has happened. In
contrast, Memory is a subjective look at what has happened. Therefore, Memory of the same
events varies among individuals creating many different and possibly conflicting
recollections. Often ones current feelings come from memories, both pleasant and
unpleasant. Many a taut story revolves around a characters effort to resolve open
issues from his memories. syn. linear reasoning, rationality, structural
sensibility, syllogistics
Mental Sex [Character Dynamic] a determination of the Main
Characters inate mental operating system as being male (linear) or female
(holistic) Much of what we are as individuals is learned behavior. Yet the basic
operating system of the mind is cast biologically before birth. Talents, intellectual
capacity, instincts -- all of these are not learned but inherited. Among these traits are
those specific to females and others specific to males. To be sure, we can go a long way
toward balancing out those traits yet that does not eliminate them nor diminish their
impact. In dealing with the psychology of a Main Character, it is essential to understand
upon which foundation his experience rests.
Methodology the approach employed to achieve a purpose; an ongoing
activity (physical or mental) without a purpose When a character is motivated
toward a particular purpose, there remains the decision of what means should be used to
reach it. Not every possible Methodology is as appropriate as every other under unique
circumstances. For example, if one wants to pound in a nail, a wrench would not work as
well as a hammer. In fact, sometimes the whole problem in a story is created because
someone is using the wrong tool for the right job. In creating Objective Characters for a
given story, 16 of the 64 elements will be selected as the Methodology elements of the
character set.
Mind [Class] dyn.pr. Universe<-->Mind a
fixed attitude or outlook The Mind Class describes a fixed attitude. This can be a
bias, prejudice, or even a "positive" opinion about anything at all. The key is
that the attitude is fixed, meaning it is accepted as a given and not re-evaluated. Often
the Mind Domain is represented by a group of people who share a common bias for or against
something. syn. attitude, fixation, position on an issue, fixed point of
view, disposition
Morality [Variation] dyn.pr. Self
Interest<-->Morality doing or being based on what is best for others
Not to be taken as a spiritual or religious sense of right and wrong, Morality here is
intended to describe the quality of character that puts others before self. This is not,
however, always a good thing. If a character is besieged by Self-Interested parties that
grasp and take whatever they can, Morality (in this limited sense) is most inappropriate.
Also, Morality does not always require sacrifice. It simply means that a Moral character
will consider the needs of others before his own. If the needs are compatible, it can
create a win/win scenario where no one need suffer. syn. selflessness,
altruism, benevolence, generosity
Motivation An underlying given or inequity which drives a character
Motivation is the force that drives a character in a particular direction. In order
for the problem in a story to be fully explored, all motivations pertaining to that topic
must be expressed. This is accomplished by assigning characteristic elements that
represent these motivations to the various objective characters. In this way, different
characters represent different motivations and the story problem is fully explored. In
creating Objective Characters for a given story, 16 of the 64 elements will be selected as
the Motivation elements of that character set.
Nature [Overview Appreciation] the seminal dramatic
framework of a story's message which indicates if the Main Character makes a proper
decision to Change or Remain Steadfast The nature of a story will be one of four
possibilities: Actual Work Story, Actual Dilemma Story, Apparent Work Story, or Apparent
Dilemma Story. A story can be appreciated as a structure in which the beginning, middle,
and end can all be seen at the same time. From this point of view, the Objective and
Subjective storylines can be compared. The Objective storyline determines if the solution
to the problem can be found in the environment or if the problem is actually caused by a
character flaw of the Main Character himself. The Subjective storyline determines if the
Main Character will remain steadfast in the belief the problem can be solved in the
environment or will change in the belief that he himself is the cause of the problem. When
the Main Character remains steadfast, he spends the entire story doing work to try and
solve the problem. This is called a Work Story. If the Main Character is correct in
believing the solution to the problem lies in the environment it is an Actual Work story.
If the steadfast Main Character is wrong and is the true cause of the problem, it is an
Apparent Work story since he believes Work is all that is necessary and that is not the
case. When the Main Character changes, he has come to believe that he is the real cause of
the problem. This is called a Dilemma Story because the Main Character spends the story
wrestling with an internal dilemma. If the Main Character is correct in believing that he
is the source of the problem, then it is an Actual Dilemma Story. If he is incorrect and
changes, even though the problem was truly in the environment, it is an Apparent Dilemma
Story. Each of these four combinations creates a different mechanism in order to arrive at
the climax with the appropriate match up between the true location of the problem and the
Main Characters assessment of where to find the solution.
Need [Variation] dyn.pr. Expediency<-->Need
that which is required Needs are always based upon a purpose. It is often
assumed that Need describes something absolutely required in an objective sense. But Need
is really a subjective judgment of what is lacking to fulfill a requirement. To illustrate
this, we might consider the statement, "We all need food and water." This
statement seems to make sense, but is not actually correct. In truth, we only need food
and water if we want to live. For a paralyzed patient who wishes to be allowed to die, the
last thing he Needs is food and water. Clearly, need depends upon what one
subjectively desires. That which is required to fulfill that desire is the subjective
Need. syn. subjective necessity, urge, demand, imperative
Negative Feel [Overview Appreciation] the problem is
closing in on the Objective Characters Overall, stories feel like
"uppers" or "downers." This is not a description of whether or not
things turn out okay in the end, but a sense of direction created by the kind of tension
that permeates the story up to the moment of climax. When the focus is on characters
doggedly pursuing a Solution, the story feels positive. When the focus is on characters
being dogged by a relentless Problem, the story feels negative. Another way to appreciate
the difference is to look at the Main Character. An audience can sense whether the author
feels a Main Character should or should not change. If the character is growing toward the
proper choice, the story feels positive. If he is growing toward the improper choice, the
story feels negative. Both these views are created by the friction between the Objective
view that indicates what is truly needed to solve the problem and the Subjective view of
the Main Character as to what seems to be the solution to the problem.
Neither [Overview Appreciation] both men and women will
tend to sympathize with the Main Character in this story Although there is much
common ground in a story that is appreciated equally by women and men, some dramatic
messages speak to one group more profoundly than the other. One particular area of
difference is the relationship of female and male audience members to the Main Character.
In some stories an audience member will feel Empathy with the Main Character, as if he/she
were standing in the Main Characters shoes. In other stories, an audience member
will feel Sympathy for the Main Character, as if the Main Character is a close
acquaintance. The dynamics that control this for women and men are quite different.
"Neither" indicates that as a result of this storyforms dynamics, neither
male and female audience members will tend to empathize with the Main Character, both will
sympathize.
Non-Acceptance [Element] dyn.pr. Acceptance<-->Non-Acceptance
a decision not to allow, tolerate, or adapt; a decision to oppose The
character containing the Non-Acceptance characteristic will not compromise. He stands his
ground regardless of how unimportant the issue may be. Certainly, this characteristic nips
attrition in the bud but also loses the benefits of give and take relationships. syn.
run counter to, reject, decline, repudiate, resist, refusal to compromise
Non-Accurate [Element] dyn.pr. Accurate<-->Non-Accurate
not within tolerances Non-Accurate describes a concept that is not
functional for the purpose at hand. There may be some value in the concept in other areas,
but for the intended use it is not at all correct. The Non-Accurate characteristic will
find the exceptions to the rule that ruin an argument. This makes it nearly immune to
generalizations. Unfortunately this can also make it unable to accept any explanation or
concept that has an exception, even if the exception has no real effect on how the concept
is being applied. Anything that is not right all the time for every use is rejected as
Non-Accurate syn. not within tolerance, insufficiency, inadequacy, deviancy,
deficient to the purpose
Objective Story [Dramatica Definition] the portion of a
story's argument developed from an Objective point of view There are four principal
points of view which must come into play in all complete stories. They are the Objective,
Main Character, Obstacle Character, and Subjective views. In practice, each of the four
points of view is like a different camera angle on the same unfolding events. The
Objective view of a story is the widest, examining the issues that affect all the
characters in the story overall. The Objective view is not unlike that of a general on a
hill watching a battle. From that vantage point, the general can observe the larger
strategies and see how the forces involved ebb and flow. On the downside, the soldiers
cannot be identified as individuals, but only by their functions in the battle as a whole.
Similarly, an audience needs to get a sense of the bigger picture - the story-wide view
that shows how all of the characters and dramatic forces fit into the grand scheme. From
this angle, characters are identified by their dramatic functions, such as Protagonist and
Antagonist. The Objective Story, then, is a description of the interactions of the
characters and events in a story seen with a wide angle view from the outside looking in.
For the audience it provides, scope, context, foundation, and background.
Objective Story Benchmark [Type] The standard by
which progress is measured in the Objective Story The Objective Story Benchmark is
the gauge that tells people how far along the story has progressed. It cant say how
much longer the story may go, but in regards to seeing how far away the goal is, both the
Objective Characters and the audience will look to the Benchmark in order to make any kind
of judgment. This Type item describes the nature of the measuring stick which will be used
in the story.
Objective Story Catalyst [Variation] The kind of
item which serves to push the Objective Story forward The Objective Story Catalyst
is what creates breakthroughs and seems to accelerate the development of the Objective
Story. In both the Objective and Subjective Stories there occur dramatic
"log-jams" when things seem to be approaching a halt. This is when the Catalyst
is necessary, for its introduction will either solve the puzzle thats holding things
up or else make the puzzle seem suddenly unimportant so the story can continue.
Objective Story Concern [Type] The principal area of
concern in the Objective Story see Concern.
Objective Story Consequence [Type] The result of
failing to achieve the goal see Consequence.
Objective Story Costs [Type] The price that must be
paid while trying to achieve the goal see Costs.
Objective Story Direction [Element] The nature of the
Objective Characters' response to the story's troubles see Direction.
Objective Story Dividends [Type] The dividends accrued
while trying to achieve the goal see Dividends.
Objective Story Domain [Domain] the realm in which the
Objective Story takes place; the background against which the overall story is played
Stories are about meaning. Meaning is created from perspective. Perspective is the
relationship between what is being examined and the point of view from where it is seen.
Simply put, an author determines the subject matter of a story and how he sees it. This is
what becomes the message or meaning of the story. There are four principal points of view
which must come into play in all complete stories. They are the Objective, Main Character,
Obstacle Character, and Subjective views. The Objective view of a story is the widest
view, examining the issues that affect all the characters in the story overall. There are
four principal categories of subject matter (called Classes). They are Universe,
Mind, Physics and Psychology. In more conversational terms we might think of them as (in
the same order) Situation, Attitude, Activity, Manner of Thinking. In reality, they
represent external and internal states of affairs and external and internal processes.
Anything we might consider as subject matter can be broadly categorized as being an
external or internal state or process. When a point of view is attached to the subject
matter, the Class of subject matter becomes the Domain or realm in which that point
of view does its exploring. So, when the Objective view is associated with a Class, that
Class becomes the Objective Story Domain. The Objective Story Domain examines the issues
that affect all of the characters, story wide. An OS Domain of Universe means that some
fixed external situation is causing troubles for the characters, such as being trapped in
a cave. An OS Domain of Mind means that fixed attitudes are the problem, such as a town
that shares a prejudice. An OS Domain of Physics means that the story's difficulties arise
from an activity, such as a safari into dangerous territory. And OS Domain of Psychology
means that the way people think is the overall source of problems, such as a group of
people gathered for a reunion who find fault with each other.
Objective Story Focus [Element] The principal
symptom of the Objective Story's Problem If the Objective Story's Problem is seen
as a disease, the Solution would be the cure. The Focus, however, would be the principal
symptom. Since the symptoms of a disease are more apparent than the disease itself, the
symptom is called the Focus, because the attention of the Objective Characters is focused
there. Even if the Objective Characters are aware of the true nature of the Problem itself
(which they may or may not be), they will be more riveted to the immediate effects created
by the Focus.
Objective Story Forewarnings [Type] The kind of items
or events which indicate the Consequence may occur before the Goal is achieved see
Forewarnings.
Objective Story Goal [Type] The common goal of the
Objective Characters see Goal.
Objective Story Inhibitor [Variation] The kind
of item which serves to impede the Objective Storys progress The Objective
Story Inhibitor is what prevents a story from just rushing full speed to the solution. It
is like a brake mechanism which can be applied as the author pleases. The introduction of
this item will always slow the progress of the story and it works as the antidote to the
Objective Story Catalyst.
Objective Story Issue [Variation] The central
thematic topic of the Objective Story Each of the four Domains (Objective
Story, Main Character, Obstacle Character, and Subjective Story) has its own theme. This
occurs because each Domain is really just a different point of view examining the same
central inequity at the heart of the story as a whole. Each Domain, then, sees the
troubles in a different light and is therefore drawn to a different standard of values by
which to measure it. The thematic Issue in each Domain is that standard. The
Objective Story Issue is the most wide-ranging of the four. This is because the Objective
Story itself is the most all-inclusive of the Domains, representing a distanced view of
the story that takes in the bigger picture. So, the thematic Issue of the Objective Story
pertains to everyone and everything that happens. An author will use the Objective Story
Issue to draw broad value judgments about the overall subject matter of the story as a
whole. The audience will get a sense of what the grand scheme of the story is all about,
effectively, what the underlying message is.
Objective Story Line the plot as it concerns the story goal The
Objective Story Line is a distinct act by act sequence of events that involves all of the
Objective Story appreciations and none of the Subjective Story appreciations. It
represents the dispassionate argument of the story, emphasizing events and relationships
in a purely cause and effect way. This is not to say that it has nothing to do with the
meaning of a story, only that it is not the WHOLE story. Meaning in stories comes from
comparing the Objective view of a story with the Subjective view that comes from within
the story.
Objective Story Preconditions [Type] The conditions imposed
by others on meeting the storys requirements see Preconditions.
Objective Story Prerequisites [Type] Preliminary
accomplishments or materials needed to meet the story requirements see
Prerequisites.
Objective Story Problem [Element] The source of the
objective storys troubles see Problem
Objective Story Requirements [Type] A series or
collection of accomplishments which must be met to achieve the goal see
Requirements.
Objective Story Solution [Element] The quality
necessary to resolve the Objective Story's Problem If the Objective Story Problem
is seen as a disease, the Solution would be the cure. The Solution cannot be directly
applied, however, because many obstacles stand in the way. Overcoming the obstacles is the
Goal of the story, so that the nature of the Goal reflects the nature of the obstacles.
The Requirements of the Goal describe the necessary accomplishments which will overcome
the obstacles and thereby allow the Goal to be achieved. There is, however, one hitch. The
final Requirement cannot be met unless the Main Character is properly positioned to enable
it. Sometime this requires the Main Character to stay where it is (Steadfast) and other
times to adopt a new position (Change). The internal conflict within the Main Character
will either lead it to a new point of view or entrench it in a new one. Depending on that
dynamic, the Main Character will either adopt a new position in the story or stay at the
old one, resulting in the eventual Success or Failure of the effort to achieve the Goal.
Authors will use the Solution to stress that the story's Problem can indeed be Resolved if
everything falls into place, thereby making it worth the audience's time to see if it
ultimately does. When the potential Solution is not illustrated up front, the characters'
efforts in response to the Problem seem to be futile exercises rather than a message
illustrating the most worthwhile approaches.
Objective Story Type Order [Plot Structure] the progressive
sequence of activites and/or concerns engaged in to arrive at a solution to the
storys objective problem, act by act As the Objective Story progresses act by
act, it covers the Objective Story Perspective (the Perspective created by matching the
Objective Story Domain with one of the four Classes) Type by Type around the quad of Types
which it contains. These four explorations make up the four acts and describe the kinds of
things that will have to happen in order to arrive face to face with the Objective Story
Problem.
Objective versus Subjective Perspectives In Dramatica, we can examine a
story from the outside as a dispassionate observer, noting the relationship of Character
to Plot to theme. We can also examine a story from the inside, by stepping into the shoes
of the Main Character to discover how things look to himself. In the first case, we see
the story like a general watching a battle from atop a hill. We are concerned with the
outcome, but not actually involved. This is the Objective perspective. In the second case,
we see the story from the point of view of a Main Character. This is more like the view of
a soldier in the trenches. We are watching the same battle, but this time we are
personally involved. This is the Subjective perspective. An audience is provided access to
both Objective and Subjective views by the author. When the audience is only shown
information that the Main Character also receives, it is in the Subjective perspective.
When the audience receives additional information that the Main Character does not
receive, it is in the Objective perspective. The dramatic potentials of a story are
largely created by the differential between the Objective and Subjective perspectives. At
appropriate times, Dramatica aids the author in focusing his attention on the perspective
that will most effectively support his dramatic intentions.
Obligation [Variation] dyn.pr. Rationalization<-->Obligation
accepting a task or situation in exchange for someones earlier or potential
favors Obligation is a mental trick we play when we accept a poor situation now in
the hopes it will lead to a better one later. If we do not feel Obligated, we know we are
really in control of the situation since we can leave at any time. However, we would then
lose any chance of a reward at the end and even risk consequences that might befall us as
a result of leaving. But by focusing on the hope of a reward and protection from
consequences, our current suffering can be tolerated and we feel we have no choice but to
stick it out. The problem is that as long as we continue to feel we have no choice, the
suffering can increase way beyond any realistic hope of recouping and yet we
"must" stay. syn. agreement, pledge, contract, accepted
compulsion, emotional contract
Obstacle Character [Subjective Character] The Subjective
Character that forces the Main Character to face his personal problem Every Main
Character has a single Obstacle Character that forces him to face his personal problems.
From the Main Characters point of view, the Obstacle Character may seem to be blocking
the road to the solution of the Main Characters personal problem, or he may seem to
be trying to knock the Main Character off the road to the solution. In a more objective
view, the Obstacle Character functions to block the Main Character from sweeping his
personal problem under the carpet, forcing the Main Character to address it directly. In
every act, a story problem is introduced that requires the Main Character to expose his
personal problem in order to solve the story problem. It is the Obstacle Character that
creates the most personal tension for the Main Character. Frequently, the Main Character
is chosen by the author to be the Protagonist as well, and often the Obstacle Character
function is combined with the Guardian or the Contagonist. In this way, they each do
double duty as prime movers of both the objective and subjective concerns of the story.
This arrangement is not essential, however, and in many cases it is prudent to assign the
Main and Obstacle Character roles to characters other than the Protagonist and
Guardian/Contagonist in order to clearly explore the relationship between the Objective
and Subjective problems of the story.
Obstacle Characters Benchmark [Type] The standard
against which the Obstacle Characters degree of impact is measured The way of
telling how much the Obstacle Character is affecting the Main Character is seen through
this measuring stick. It can be subtle or obvious, illustrated perhaps by the number of
empty beer cans next to an alcoholics bed, the severity of a facial tick, or the
amount of perfume a character puts on. However it is illustrated, it needs to be there to
give both the audience and the Obstacle Character some way of judging how effective his
impact is and how much energy he has left to employ.
Obstacle Characters Concern [Type] The area of the
Obstacle Characters principal cares, interests, and goals; the area of the Obstacle
Character's greatest impact on the Main Character The Obstacle Character will be
interested in achieving some degree of growth or control over things described by this
appreciation. This could be in terms of concrete or abstract things, depending partly on
the Obstacle Characters Domain and partly on the twist the author wants to put on
that Domain.
Obstacle Characters Critical Flaw [Variation] The
item that undermines the Obstacle Characters unique ability to impact the Main
Character The Obstacle Characters Critical Flaw undermines his effectiveness
against the Main Character in general, but especially in regards to his Unique Ability.
The Obstacle Character in any story has a Unique Ability which makes him uniquely
qualified to thwart the Main Character. But in his character as well is a Critical Flaw
which prevents him from just totally overwhelming the Main Character. This is again a
trait which is unique to this particular character.
Obstacle Characters Direction [Element] The direction
of the Obstacle Characters efforts An Obstacle Character can never be sure if
what he believes to be the source of his problem really is the source of his
problem. Regardless, based on his way of seeing things, he will determine a potential
solution or Direction in which he hopes to find the solution. The dramatic unit that
describes what a Subjective Character believes is the path to a solution is his Direction.
Obstacle Characters Domain [Domain] The broadest area
of the Obstacle Characters impact Everything that emanates from what the
Obstacle Character does and represents which primarily relates to his impact alone, as
opposed to specific relationships he has with other characters, can be said to be part of
the Obstacle Character Domain. There are four different Domains in the structure of any
story, represented by the combination of each of the four Classes with each of the four
throughlines-- the Objective Story Throughline, the Subjective Story
Throughline, the Main
Character Throughline, and the Obstacle Character Throughline. The Obstacle Character
Domain describes, in the broadest single term, what the Obstacle Character represents and
the area in which the Obstacle Character operates within the story.
Obstacle Characters Focus [Element] Where the
Obstacle Characters attention is centered The Obstacle Character concentrates
his attention where he thinks his problem lies. Just as in the Main Character, an inequity
exists in the Obstacle Character between himself and his environment which is driving him.
The actual nature of this inequity is described by the Obstacle Character Problem Element.
The nature of what is required to restore balance is described by the Obstacle Character
Solution Element. From the Subjective view afforded to the Obstacle Character though, the
inequity does not appear to be between himself and the Environment but wholly in
one or the other. The Focus Element describes the nature of how the problem appears to the
Obstacle Character from his Subjective point of view. Focus really describes the effects
of the Obstacle Character Problem element, but because the Problem element is on the level
of his own motivations, Subjective Characters can never see his actual problems without
solving them.
Obstacle Characters Issue [Variation] the thematic
focus, topic, or value standard by which the Obstacle Character's impact is judged
An Obstacle Characters Issue captures the essence of what that character will
represent in the story. The nature of the things he does, intends to do, and what he means
to the passionate argument of the story are all linked in this appreciation.
Obstacle Characters Problem [Element] The source of
the Obstacle Characters drive In every Obstacle Character there exists some
inequity that is driving him. If the Obstacle Character Changes something in himself in
response to the Main Characters Steadfastness, it is this item, his Problem, which
he changes by exchanging it for his Solution. If the Obstacle Character is Steadfast,
though, then he holds onto his problem, deepening his resolve to keep the same motivations
at the end of the story as he had when he began the story.
Obstacle Characters Solution [Element] what is needed
to truly satisfy The Obstacle Characters drive The Solution Element is the
"flip side" of the Problem Element. For the Obstacle Character, it is the
element that would alleviate the Obstacle Characters drive which his Problem Element
supplies. It is not necessarily applied during a story, but it exists in every story
nevertheless.
Obstacle Characters Throughline [Dramatica Definition] The
dramatic progression which builds the Obstacle Character's pressure on the Main Character
to change The Obstacle Character is defined by its relationship to the Main
Character. The Main Character represents the audience position in the story which, in a
sense, represents our sense of self within our own minds. When we consider changing our
outlook in regard to a particular issue, we entertain an alternative viewpoint which we
examine thoroughly before either adopting or rejecting. The Obstacle Character represents
that alternative point of view. In stories, as in our own minds, this alternative view is
seen from where we are positioned currently. After all, when it comes to changing
something about who we are, we don't just make that change without first trying to
understand what kind of person we would become and trying to anticipate how it might
affect our situation. Over the course of the story, as the Main Character grows, the
Obstacle Character must keep pace to provide alternative perspectives on all the key
experiences the Main Character encounters. In this way, the best possible argument for
adopting the new viewpoint is made, and the current and alternative paradigms can be
judged fully against each other. This is how we arrive within ourselves to a point of
change, and how the Obstacle Character drives the Main Character to the same point. For
the author, the Obstacle Character Throughline is the progression through all of the
issues which come up while providing alternative perspectives to the Main Character's
currently held views. For an audience, the Obstacle Character Throughline simply describes
the kinds of activities and concerns addressed by the Obstacle Character as he or she
moves through the plot.
Obstacle Characters Unique Ability [Variation] The
item that makes the Obstacle Character uniquely able to pressure the Main Character to
change The reason the Obstacle Character is able to carry half of the Subjective
Story is his unique suitability to take the opposite position to the Main Character in
regard to the Crucial Element of the story. The Obstacle Character's Unique Ability gives
the Obstacle Character a power which no one else in the story has: to be able to pressure
the Main Character to change his very nature.
Obtaining [Type] dyn.pr. Doing<-->Obtaining
possessing or achieving something Obtaining includes not only that which is
possessed but also that which is achieved. For example, one might obtain a law degree or
the love of a parent. One can also obtain a condition, such as obtaining a smoothly
operating political system. Whether it refers to a mental or physical state or process,
obtaining describes the concept of attaining syn. controlling for oneself,
possessing, having, keeping.
Openness [Variation] dyn.pr. Preconception<-->Openness
willingness to re-evaluate Openness simply means entertaining alternatives.
When a characters pre-conceptions come into conflict with new information, if he is
open, he will not be biased or blind to it. He puts openness above holding on to a point
of view. Of course, this can easily be carried to extremes, when someone seems to have no
opinion at all and just goes with whatever anyone else says. Some degree of pre-conception
is necessary to benefit from the value of ones own experience. syn. broad
mindedness, tolerancy, willingness to reevaluate, receptiveness
Oppose [Element] dyn.pr. Support<-->Oppose
an indirect detraction from anothers effort The Oppose characteristic
causes a character to speak out against any effort, although he does not actively engage
in preventing it. As in "the Loyal Opposition," an opposing view can be useful
in seeing the negative side of an endeavor. However it can also wear thin really fast with
the constant nag, nag, nag. syn. object to, speak out against, argue
against, protest, dispute, show disapproval of, detract from
Optionlock [Plot Dynamic] the story climax occurs because
all options have been exhausted If not for the story being forced to a climax, it
might continue forever. When a story is brought to a conclusion because the characters run
out of options, it is said to contain a Optionlock. As an analogy, one might think of a
story as the process of examining rooms in a mansion to find a solution to the
storys problem. Each room in the mansion will contain a clue to the actual location
of the solution. In an optionlock, the Objective Characters might be told they can examine
any five rooms they want, but only five. They must pick the five rooms ahead of time. They
can take as long as they like to search each one and go thoroughly examine four of the
rooms. After getting through their fourth pick they are given a choice: based on the clues
they have found so far, do they wish to stick with their original fifth room or pick
another room instead out of all that remain? Either choice may lead to success or failure,
but because running out of options forced the choice it is an Optionlock story. This
choice represents the Optionlock which brings the story to a close and forces such
appreciations as Main Character Resolve (Change or Steadfast), Outcome (Success or
Failure), and Judgment (Good or Bad).
Order [Element] dyn.pr. Chaos<-->Order
a patterned arrangment The character containing the Order characteristic is
concerned with keeping things organized. Change is not a problem as long as it is orderly.
However, sometimes you cant get there from here and the whole system has to be blown
apart to rebuild from the ground up. Sometimes a little chaos needs to reign so that a log
jam can be broken or a process speeded up. The character representing Order is an
organization fiend. syn. structure, patterned arrangement, organization,
patterned formation, formation, configuration, patterned sequence
Outcome [Plot Dynamic] a logistic assessment of how
things ended up When one is creating a story, one must consider how it all comes
out. This will not just be a description of the situation but also of what potentials
remain and how they have changed over the course of the story. Often, an author may wish
to show the Outcome of a dramatic movement at the beginning or middle rather than the end.
In this way the audience will focus more on how that eventuality came to be rather than
trying to figure out what is going to happen.
Overview Appreciations Story points relating to the widest dramatic
interpretations of your entire story, including the Character and Plot Dynamics which
describe its dramatic mechanism and basic feel are called Overview Appreciations. For
example, Essence, Nature, Reach, Apparent or Actual Dilemma stories, etc.
Past (The Past) [Type] dyn.pr. Present<-->Past
what has already happened The past is not unchanging. Often we learn new
things which change our understanding of what past events truly meant and create new
appreciations of how things really fit together. A Story that focuses on the Past may be
much more than a documentation of what happened. Frequently it is a re-evaluation of the
meaning of what has occurred that can lead to changing ones understanding of what is
happening in the present or will eventually happen in the future. syn. history,
what has happened, former times, retrospective
Perception [Element] dyn.pr. Actuality<-->Perception
the way things seem to be Perception is a point of view on reality. In
truth, we cannot truly get beyond perception in our understanding of our world. A
character that represents Perception is more concerned with the way things seem than what
it is. Therefore he can be caught off-guard by anything that is not what it seems. syn.
appearance, how things seem to be, discernment, a particular reading of things, a
point of view on reality, a way of seeing
Permission [Variation] dyn.pr. Deficiency<-->Permission
what is allowed Permission means Ability limited by restrictions. These
constraints may be self imposed or imposed by others. When a Character considers what he
can or cannot do, he is not assessing his ability but the limitations to his ability. When
one worries about the consequences born of disapproval or self-loathing, one halts for the
lack of Permission. The frustration of a character suffering a vice-grip on his ability
may eventually erupt in an explosive reaction if the noose gets too tight. syn. constrained
ability, limited capability, restricted capacity, hindered performance, allowed
limitations, restrained utility
Perspective [Domain] [Class] The combination of one of the
four viewpoints with one of the four Classes To complete the creation of one of the
four perspectives (or Domains) for any particular story, a viewpoint must be matched to a
Class so that the place which the perspective is looking from is defined and the nature of
the perspective is defined. The four viewpoints include the Objective Story, the
Subjective Story, the Main Character. Universe, Physics, Psychology, and Mind are the four
Classes which represent the four broadest classifications of story issues. In every
complete story, each viewpoints is assigned one Class, creating four Perspectives. Only by
fully exploring all four Perspectives can a Grand Argument Story be fully developed.
Physics [Class] dyn.pr. Psychology<-->Physics
an activity or endeavor The Physics Class is one of action. Whereas the
Universe Class describes a fixed situation, Physics is a Class of dynamics. Situations
evolve, develop, and change. Activities are engaged in and endeavors undertaken. syn.
an activity, an enterprise, an initiative, an endeavor, an operation
Plot Dynamics [Dramatica Definition] dramatic potentials
which determine the plot's Driver, Limit, Outcome, and Judgment.
When trying to describe a plot, many authors simply relate the order in which
events occur. In fact, the order in which the events are presented to an audience
and the order in which they actually occurred for the characters in the story are
often quite different. Dramatica defines plot as the internal logic or sequence of events
in a story. The order in which events are presented is referred to as Storyweaving.
Putting Storyweaving aside, the actual order of events is greatly influenced by four
principal forces. These Plot Dynamics determine something about what is pushing the
plot forward (Driver), how far it can go (Limit), where it ends up (Outcome) and what it
all meant (Judgment). By making choices about the kind of Driver (Action or Decision), the
kind of Limit (Timelock or Optionlock), the kind of Outcome (Success or Failure), and the
kind of Judgment (Good or Bad), and author can shape the course of a plot and the events
that will occur within it.
Positive Feel [Overview Appreciation] the Objective
Characters in the story are closing in on the solution Character can push and be
pushed. They can also pull something or be pulled by something. When the characters push
for what they are trying to achieve or pull something closer, the feeling is Positive.
When the characters are pushed away or pulled toward something against their will, the
feeling is Negative.
Positive versus Negative Positive and Negative are not evaluations of the
ultimate outcome of a story, but evaluations of how the story feels during its course
toward the outcome. Does the story feel like it is drawing closer to a satisfying and
fulfilling conclusion or farther away from an unsatisfying, unfulfilling conclusion? Then
it is positive. Does the story feel like it is drawing closer to an unsatisfying and
unfulfilling conclusion or farther away from a satisfying, fulfilling conclusion? Then it
is negative. Any given story will have either a positive or negative feel to it. This is
caused by a combination of two kinds of dynamics, one of which describes the Main
Character, the other describes the Author. Every Main Characters personal problem is
either caused because he is doing something he needs to stop or because he is not doing
something he ought to be. In other words, his problem exists because he needs to remove or
add a trait. In a sense, the Main Character must either move toward something new or move
away from something old. That alone does not give a positive or negative feel to a story,
as what he is moving toward or away from could be good or bad. Every Author has feelings
about which traits are good ones to have and which are bad. Just because a Main Character
successfully solves his problem by removing or adding a trait does not mean he has become
a better person for it. The Authors message may be that failure in problem-solving
is preferable to diminishing ones overall character. So the Authors identity
is exposed to the audience by passing a value judgment on whether removing or adding a
trait (Start or Stop) was good or bad. Taken together, Start and Stop, and a value
judgment on what the Main Character is growing in relation to of good or bad
create four combinations. Two of these are positive and two of them are negative. Start
and good means the Main Character is moving toward something good and that feels
positive. Stop and bad means the Main Character is moving away from something bad
and that also feels positive. Start and bad means the Main Character is moving
toward something bad and that feels negative. And Stop and good means the Main
Character is moving away from something good and that feels negative as well.
Possibility [Element] dyn.pr. Probability<-->Possibility
a determination that something might be true The Possibility element endows
a character with an open-minded assessment of his environment and relationships. However,
it gives less weight to the single most likely explanation, looking instead at the whole
range of known alternatives. Since the most likely scenario does not always happen, the
Possibility element aids in having "Plan B" ready. On the downside, this
characteristic may "over think" things and lose track of what is most probable.
syn. plausibility, viability, conceivable eventualities, open assessment
Potentiality [Element] dyn.pr. Certainty<-->Potentiality
a determination that something might become true The element of Potentiality
drives a character to take risks on long odds. Always looking at what is not specifically
ruled out, he is even beyond the realm of possibility and spends his time focusing on the
greatest possible potential. As long as there is no reason why something should not be a
certain way, the character representing Potentiality acts as if it is. Of course this
leads him to see benefits and dangers others might miss, but it also leads him to starve
on "pie in the sky." This characteristic always looks at what might be, never
stopping to take stock of what is. syn. chance, precariousness, focusing on
the uncertain, going with the improbable
Preconception [Variation] dyn.pr. Preconception<-->Openness
adhering to a previous held view; unwillingness to reevaluate Preconception
is a pre-conception that prevents one from entertaining information contrary to a held
conclusion. When one shuts his mind to additional data, there is no way to realize that
the conclusion might be in error. Contradictory observation no longer becomes part of
experience so experience ceases to grow. Obviously, this can lead to all kinds of actions
and attitudes that work to the detriment of oneself and others. On the other hand,
Preconception can steel one against temporary exceptions that tempt one to veer from the
true path. Question Is it bad to have Preconceptions against evil? syn. prejudice,
closed mindedness, narrow mindedness, intolerancy, stubbornness, unwillingness to
reevaluate
Preconditions (Objective Storyline) [Type] restrictions
imposed on the effort to reach the goal When meeting the requirement is made
contingent upon some non-essential restriction, the extra baggage is referred to as
Pre-conditions. Depending upon the nature of the Pre-conditions and the nature of a
character, it may turn out that although the pre-requisites will achieve the goal, the
goal itself is improper and only the Pre-conditions can actually solve the problem.
Misplaced emphasis is a common thematic exploration.
Preconditions [Variation] dyn.pr. Prerequisites<-->Preconditions
restrictions imposed on the effort to reach the goal When access to
resources necessary to meeting pre-requisites is made contingent upon some non-essential
accomplishment or limitation, the extra baggage is referred to as Pre-conditions.
Depending upon the nature of the Pre-conditions and the nature of a character, it may turn
out that although the pre-requisites will achieve the goal, the goal itself is improper
and only the Pre-conditions can actually solve the problem. Misplaced emphasis is a common
thematic exploration. syn. provision, prescribed specification, imposed
stipulation, limiting parameters, imposed limitations
Preconscious (The Preconscious) [Type] dyn.pr. Subconscious<-->Preconscious
innate responses Built into the mind is an instinctual base of reactions and
attitudes that cannot be altered but merely compensated for. When a storys problem
revolves around the unsuitability of someones essential nature to a given situation
or environment, the central issue is the Pre-Conscious. The solution lies in the character
conditioning himself to either hold his tendencies in check or develop methods of
enhancing areas in which he is naturally weak in reason, ability, emotion, or intellect.
syn. unthinking responses, immediate responses, impulse, impulsive response,
instinctive response, innate response, reflex
Prediction [Variation] dyn.pr. Interdiction<-->Prediction
pre-determination of a future state of affairs Prediction explores the
effort to learn the course of ones destiny. Destiny is the path to a particular fate
or through a series of fates. Fates are experiences or conditions one must encounter along
the way as ones destiny directs ones course. The nature of destiny is such
that no matter how much a character is aware of the nature and location of an undesirable
fate, nothing he can do is enough to pull him off the path. However, if one could know the
future course, one could prepare for each eventuality in order to minimize or maximize its
effect. syn. foresight, foreseeing, anticipation, envisioning ones
future, prophecy, forecast, foretell, prognosticate
Prerequisites (Objective Storyline) [Type] the essential
prliminaries that must be met to complete the Requirements Pre-requisites are the
essential or necessary steps or accomplishments that must be achieved in order for
something to occur. If a goal has a single requirement, there may be many pre-requisites
to achieving that requirement.
Prerequisites [Variation] dyn.pr. Preconditions<-->Prerequisites
the essential prliminaries that must be met to complete the Requirements
Prerequisites are the essential or necessary steps or accomplishments that must be
achieved in order for something to occur. If a goal has a single requirement, there may be
many prerequisites to meeting that requirement. syn. essential steps,
necessary requisites, compulsory stipulation
Present (The Present) [Type] dyn.pr. Past<-->Present
the current situation and circumstances "Present" does not refer
to the way things are going, but to the way things are. It is a here and now judgment of
the arrangement of a situation and the circumstances surrounding it. A story that focuses
on the Present is not concerned with how events led to the current situation nor where the
current situation will lead, but defines the scenario that exists at the moment . syn.
how things stand, the here and now, current situation, as of this moment
Proaction [Element] dyn.pr. Reaction<-->Proaction
taking initiative action The Proactive characteristic will urge a character
to begin problem solving on his own. This character will be a self-starter who is up and
at it the moment he realizes a potential problem exists. Sometimes, however, a potential
problem may not actually materialize and would have disappeared in short order by itself.
Proaction may actually cause the problem to occur by irritating the situation. Worse yet,
the character representing Proaction may act before the true nature of the problem is
seen, leading him to cause damage to innocent or non-responsible parties, sometimes
actually aiding the real source of the problem. syn. to initiate action,
execute, undertake, commit, implement
Probability [Element] dyn.pr. Possibility<-->Probability
liklihood The character having the Probability characteristic puts its
beliefs and efforts behind what is most likely. It is not as bound to safety as a
character containing the Certainty characteristic, yet will still only take
"calculated" risks. It is always playing the odds and changes direction in
mid-stride if the odds change. This allows it to steer clear of many dangers but also
tends to make it fickle. syn. likelihood, prospective, predictable,
promising
Problem (Objective Storyline) [Element] the underlying
cause of the storys difficulties Of all the Elements, there is a single one
that describes the essence of the storys problem. The inclusion of this element in
an Objective Character identifies him as the Main or Obstacle Character. This is because
it makes that character the only one who can solve both the Objective and Subjective
problems in a single stroke by addressing the problem (changing).
Process [Element] dyn.pr. Result<-->Process
an ongoing activity; the mechanism through which a cause leads to an effect
A Process is a series of interactions that create results. The character representing
Process will concentrate on keeping the engine running smoothly. Unfortunately, he often
forgets to look where the car is actually going. Sometimes the experiences along the way
are the important part, other times it is arriving at the destination. syn. chain
of interactions, manner of procedure, cause/effect relation, progression, ongoing pull or
tendency
Production [Element] dyn.pr. Reduction<-->Production
a method of thought that determines potential Almost like deduction in
reverse, Production arrives at a future truth by limiting out what can not happen, rather
than arriving at a present truth by limiting out what cannot be. Anything remaining when
the impossible is ruled out has potential. The problem for the character representing the
Production characteristic is that Potentiality is often mistaken for Certainty if he fails
to realize that any overlooked or unknown information can completely alter the course of
the future. syn. determining potential, noticing possibilities, ruling out
future impossibilities, discovering of potential
Progress [Type] dyn.pr. Future<-->Progress
the way things are going Progress concerns itself with change what
direction and how fast? It is not so important where things were, are, or will be, but
rather how the struggle between inertia and change seesaws over the course of the story.
syn. flowing, advancing, proceeding, moving forward, developing step by
step, graduated, staging, successive, procession, the way things are going
Projection [Element] dyn.pr. Speculation<-->Projection
an extension of probability into the future Projection is a means of
anticipating events and situations by extending the line of how things have been happening
into the future. A character that represents Projection has a good grasp of what he might
look for in things to come. However, this character will give great weight to past
experience so abrupt changes in direction might be ignored until it is too late. syn.
anticipation, how things will be, most likely, probable
Protagonist [Archetype] An Archetypal Character who
represents the qualities of Pursuit and Consider An Objective Character charged
with the responsibility of pursuing a solution to the storys objective problem. An
objective problem does not mean it cant be personal. Rather, it means that all of
the dramatically functioning characters in the story are concerned about the outcome. The
true Archetypal Protagonist pursues the solution against the Antagonist. In other stories
a close cousin of the Protagonist shares all the same elements except he tries to avoid
the Antagonists plan. For the Pursuing Protagonist the goal is to cause something.
For the Avoiding "Protagonist" the goal is to prevent something.
Protection [Element] dyn.pr. Inaction<-->Protection
an effort to prevent interference with ones concerns Protection is the
act of building ones defenses against actual and potential threats. Certainly,
preparing for problems brings a character advantages should the problems occur. However,
the very act of building defenses can be interpreted as a threat to others who rely on
Proaction and thereby precipitate the very aggression the character had tried to protect
against. Also, a character representing Protection may stifle anothers need for
risk-taking or become so wrapped up in preparations that there are no resources left to
use for advancement. syn. defense, safeguard, preservation, precaution
Proven [Element] dyn.pr. Unproven<-->Proven
an assessment that something is correct by all relavent standards Proven
refers to an understanding that has been shown to be correct enough times to enough people
to hold it as fact. The character representing Proven will judge truth only by what has
been sufficiently verified. This makes it wary of unsubstantiated rumors, evidence, or
conclusions. In the negative column, determining something is Proven requires drawing an
arbitrary line that says, "Enough it enough, its true!" The moment one
assumes that the understanding is Proven, one ceases to look for exceptions. When a
connection is made between two events or people on the basis of a series of
"Proven" facts, all it takes is one exception to ruin the argument. syn.
verified, confirmed, corroborated, established, demonstrated, shown
Psychology [Class] dyn.pr. Physics<-->Psychology
a manner of thinking or demeanor The Psychology Class is where the evolution
or change in an attitude is explored, unlike the Mind Class which describes the nature of
a fixed state of mind. This is a more deliberation-oriented class where the focus is not
on the attitude itself, but whether it is changing for better or for worse. syn.
ways of thinking, thinking process, activity of the psyche, manipulation of others
Purpose A desired and intended result Purpose and Motivation are
often confused. Whereas Motivation is the drive that the character must fulfill or
satisfy, Purpose is the specific item that will satiate that drive. Sometimes a
character will attempt to satiate his Motivation by achieving several Purposes, each of
which does part of the job. Other times, a single Purpose can assuage multiple
Motivations. Many interesting stories are told about characters who struggle to achieve a
Purpose that really will not meet their Motivation or about characters who achieve a
Purpose for the wrong Motivation. But other, less common arrangements sometimes present
more Deliberation oriented stories where the character achieves a Purpose near the
beginning and then must search to find a Motivation that gives it value, or a character
who has a strong Motivation but must search for the Purpose that truly accommodates it.
Pursuit [Element] dyn.pr. Avoidance<-->Pursuit
the drive to seek after The character representing Pursuit is a real
self-starter. The Pursuit characteristic leads a character to determine what he needs to
achieve and then make a bee-line for it. This may seem admirable and it can be. Unless of
course he is trying to pursue something bad for himself and/or for others. In fact, it may
be that the object of the Pursuit doesnt want to be pursued. "If you love
something let it go... If it loves you, it will come back. If it doesnt come back,
hunt it down and kill it." syn. seek, go after, attempt to achieve,
look for, directed effort
Quad [Structural Term]
For every dramatic unit, three others can be found that possess a similar
quality. A relationship exists in this group of four units that allows them to act as
potentiometer controlling dramatic direction and flow. These groups can be represented as
a square divided into four quadrants -- hence the name QUAD. In each quad of four dramatic
units, special relationships and functions exist between diagonal, horizontal, and
vertical pairs.
Rationalization [Variation]
dyn.pr. Obligation<-->Rationalization an alternative
explanation used to mask the real reason Rationalization is the attempt to have
your cake and eat it too. When a character expects that catering to his desires will bring
about some cost or punishment, he tries to do what hed like in a way he thinks will
avoid retribution. One way is to come up with an excuse. Rationalization involves
fabricating an artificial reason for ones attitude or actions that will excuse them.
The reason must make sense as being a possible actual cause of the characters
activities. In fact, it might very well have been the reason, except that it wasnt,
which is what makes it a Rationalization. syn. fabricated excuse, ulterior
explanation, false justification, artificial reason
Reach [Overview Appreciation] the manner in which the
audience identifies with the Main Character, through Empathy or Sympathy The Reach
of a story describes the relationship between the audience and the Main Character. An
audience might Empathize with a Main Character in which case the audience identifies with
the Main Character and sees the story through his eyes. Alternatively, an audience might
Sympathize with the Main Character in which case it stands next to the Main Character as
if it were a close acquaintance. The story dynamics that determine Empathy or Sympathy are
different for men than for women. Women tend to identify and Empathize with a Main
Character of either sex who is limited by a Optionlock. Men tend to only Empathize with
male Main Characters. Women tend to Sympathize with a Main Character of either sex who is
limited by a timelock. Men tend only to Sympathize with female Main Characters. As a
result of these dynamics, sometimes both women and men will Empathize, sometimes women
only, sometimes men only, sometimes neither (both will Sympathize). It should be noted
that these are tendencies only. Training, experience, and personal choice in any
individual audience member can slip the balance wholly to the other side. Nevertheless, at
the subconscious level these tendencies will hold true.
Reaction [Element] dyn.pr. Proaction<-->Reaction
actions made in response The Reaction characteristic leads a character to
strike back at the source of a problem. Reaction is less precipitous than Proaction
requiring the problem to materialize before it acts. It does not take preemptive first
strikes nor does it turn the other cheek. As a result, it often waits too long to tackle a
problem that could easily have been prevented, then gets in a brawl that actually becomes
a problem. Many authors try to pit one Proactive character against another. This actually
diminishes the drama of the conflict as both characters are taking the same approach. By
making one character Proactive and another Reactive, a much more real and powerful
interaction is created. syn. response, reply, acting from stimulus, goaded
to action
Reappraisal [Variation] dyn.pr. Appraisal<-->Reappraisal
reconsideration of a previous determination When one has made an initial
appraisal as to where preliminary evidence seems to be leading, there comes a time when
one must make a Reappraisal of the evidence to see if its direction has changed. This
tends to keep one on the right track. But characters, like everyday people, are influenced
by what has occurred most recently -- "What have you done for me lately?" As a
result, during Reappraisal a character might discount the body of evidence in favor of
that which is most fresh in his mind. syn. reassess, rechecking, checking
up, re-examining a conclusion, reevaluating a conclusion
Reason [Archetype] An Archetypal Character who represents
the qualties of Logic and Control The Reason Archetypal Character evaluates
and acts solely on the basis of calm logic, never becoming enraged, passionate or
emotionally involved in a decision. Although common in simple stories, the Reason
character is hard to empathize with. As a result, it is one of the characters most often
altered slightly from its archetypal arrangement to provide more potential for empathy
from the audience. A frequent choice is to swap the trait of calm with the Emotional
characters trait of frenzy. The result is that both characters become more
interesting, the Reason character being both logical and frenetic, the Emotional character
being highly passionate yet in control
Reconsider [Element] dyn.pr. Consider<-->Reconsider
think through again The Reconsideration characteristic represents the drive
to re-examine ones conclusions to see if they are still valid. This leads to a
pragmatic approach to ones own beliefs but also undermines resolve with every new
obstacle that crosses ones path. syn. re-examining conclusions,
rethinking, to mull over again, further deliberation, additional scrutiny
Reduction [Element] dyn.pr. Production<-->Reduction
a method of thought that determines probability Reduction is a process of
thought that compares the likelihood of several incomplete lines of deduction. Sometimes
there is not enough information to fully deduce the ultimate truth in a matter. However,
there is enough information to narrow the field of possibilities. When all the
possibilities are considered, each can be rated on its individual merits as to how much
each has. The potentialities are compared, arriving at the most likely conclusion. This
allows the Reduction characteristic to act with a greater degree of confidence than if no
"favorite" theory or explanation had emerged. Of course, dealing with incomplete
data is a horse race where even the most unlikely explanation may surge ahead when the
last piece is in place and prove to be the actual fact of the matter. It is when the
Reduction characteristic gives probability the weight of certainty or fails to reevaluate
that problems can arise. syn. determining probability, comparisons of
potentiality, measurement of likelihood, judging probabilities
Reevaluation [Element] dyn.pr. Evaluation<-->Reevaluation
reappraisal of a situation or circumstances Reevaluation is the act of
reconsidering ones first impressions. This may be in regard to a person, situation,
goal, or even oneself. Reevaluation is a helpful characteristic in dispelling incorrect
initial assessments of the meaning behind things, but is a real drawback when a person or
situation conspires to lure ones understanding away from an accurate Evaluation.
Perhaps a series of coincidences or a concerted effort can present information that
conflicts with an earlier Evaluation that was actually quite on the mark. A character
containing the Reevaluation characteristic can be swayed by new misleading information and
form new, mistaken understandings. syn. reappraisal, further assessment,
subsequent analysis, scrutiny of first impressions
Repulsion [Variation] dyn.pr. Attraction<-->Repulsion
disattration; pushing or being pushed away from A characters path to
his goal is blocked by many curtains. The future beyond each cannot be seen until he has
passed through to the other side. Sometimes the curtain itself is attractive, encouraging
one to continue. Other times it is negative, indicating danger or loss, or that something
unsavory lies behind. This is the nature of Repulsion. The warning is, "Id go
back if I were you" or "Dont spit into the wind." But does the
curtain truly represent something distasteful that waits beyond or is it simply a false
front, a mask to scare off the less tenacious? syn. unattractive, repellent,
foreboding, unsavory, pushing away, forcing back
Requirements (Objective Storyline) [Type] the necessary
pre-cursors to achieving the goal Achieving a goal is not a one-step activity.
Rather, all the cogs and wheels of a situation must be adjusted and realigned first in
order to enable the goal. That can entail taking a certain number of steps in sequence
and/or involve "tuning" the orchestra of the dramatics until they support the
harmony of the goal. Both the sequential and holistic approach to these pre-requisites and
pre-conditions are described by the nature of the overall requirement to achieving the
goal. In other words, the requirement describes the condition requisite to the goal and is
made up of pre-requisites and pre-conditions.
Resolve [Character Dynamic] the ultimate dispostion of the
Main Character to Change or Remain Steadfast There are two major ways in which an
author can illustrate the best way to solve the problem explored in a story. One is to
show the proper way of going about solving the problem, the other is to show the wrong way
to solve the problem. To illustrate the proper way, your Main Character should hold on to
his resolve and remain steadfast because he truly is on the right path. To illustrate the
improper way of dealing with a problem, your Main Character must change for he is going
about it the wrong way.
Responsibility [Variation] dyn.pr. Commitment<-->Responsibility
taking, accepting, or assuming control to the exclusion of others
Responsibility is a determination of who will have control and also be held accountable
should control not be successfully exercised. Responsibility can be taken, given, assumed,
and relinquished. In practice, the desire for power or control often leads individuals to
leverage a position as decision maker to the exclusion of others. The drive that grows
from self-interest is Responsibility. The problem occurs when a character believes he
knows what is best for someone and that someone doesnt agree. "Its for
your own good," and "This is going to hurt me more than you" are two
expressions that exemplify this attitude. Sometimes the character is right in believing he
knows best, other times not. Responsibility can both be given or taken, assumed or
presumed, accepted or declined. syn. assumed propriety, believed
appropriateness, self designated aptness, accepted suitability
Result [Element] dyn.pr. Process<-->Result
the product of a process; the ramifications of a specific effect Result is a
holistic view of all the pertinent end products of a process. When a cause generates an
effect, how does the effect upset the overall balance of a situation? In a balance of
power, one must consider the results of arming an ally not just the immediate effect of
strengthening its military. The character possessing the Result characteristic considers
the ripples that might occur because of a given effect. The negative aspect is that it
often over-thinks the situation until its considerations are ranging far beyond the scope
of any real concerns. This can inhibit useful actions for insignificant reasons. Stop a
new factory that will create jobs to protect a previously unknown species of gnat? It
depends on the scope of the concern. syn. ramifications of an effect,
consequence, repercussion, impact, end product
Scene [Dramatica Definition] a temporal unit of dramatic
construction usually employed in Plays, Screenplays, and Teleplays. Although there
is some variation, Scene is usually defined as all of the dramatic events which occur in a
single place and time until either place or time changes. In Screenplays and Teleplays,
Scenes are numbered in the original draft sequentially according to every change in
location or time. For example, each scene would begin with the format, INT or EXT (for
Interior or Exterior) followed by the location's name, such as JOE'S GARAGE. The final
information is the time, which in Screenplays is usually limited to DAY or NIGHT, although
other variations occur if absolutely necessary to convey specifics. Most Stage Plays are
divided into Acts, which represent complete dramatic movements in the overall story. Each
Act is usually sub-divided into two or three Scenes, which are identified as all the
action and dialog which takes place in a single location and time. So, Act 1, Scene 2
might be: Joe's Garage ~ later that evening. A less common usage of "Scene" is
as a unit representing a complete dramatic movement, such as an argument that begins,
develops, and resolves. Although in a dramatic sense this is a useful application of the
word, in practice, complete dramatic movements are often segmented and intermixed for
storytelling purposes to create parallel action, delayed payoffs, and many other interest
generating techniques. In keeping with the most common definition, Dramatica uses
"Scene" to mean everything that takes place consecutively in a single place and
time.
Security [Variation] dyn.pr. Threat<-->Security
an evaluation of ones defenses and protections Before one can expand
to greater achievements, it is important to protect what one has already achieved. When a
character is concerned with Security, he builds defenses against threats both known and
anticipated. However, actual dangers may or may not fall within the ability of the
protections to keep one secure. Subjectively, a character must determine when he feels
secure, based on his experience. For example, a famous comedian once related that he
always bought so many groceries he had to throw many away when they spoiled. This, he
said, was because he had gone hungry so often as a child. When a characters
experiences motivate him to over or under prepare for dangers, Security may actually
become a danger itself. syn. evaluation of safety, measure of safeguards,
appraisal of ones protections, gauge of defenses
Self-Aware [Element] dyn.pr. Aware<-->Self-Aware
being conscious of ones own existence When a character possesses
Self-Awareness he fully appreciates all his feelings, thoughts, abilities, and knowledge.
Everything he experiences or observes is couched in terms of his own point of view. As the
downside, he may not be able to understand that some things that happen dont pertain
to him at all and in fact happen best without him. syn. self-conscious,
conscious of ones existence, self-perceiving, self-appreciating, self-cognizant
Self-Interest [Variation] dyn.pr. Morality<-->Self-Interest
doing or being based on what is best for oneself In its pure form,
Self-Interest is defined as the quality of ALWAYS choosing what is best for oneself with
NO consideration as to the effect on others. This does not require ill intent toward
others. A character who is Self-Interested simply focuses on the personal ramifications of
decisions. In fact, in stories that show the evil nature of an oppressive society or
regime, Self-Interest can be a very positive thing. syn. self-serving,
self-centered, narcissistic, selfishness, self-absorbed, egocentric
Sense-Of-Self [Variation] dyn.pr. State of
Being<-->Sense of Self ones perception of oneself Simply put,
Sense of Self is our own Self Image. A character may not truly know who he is but he
always knows who he thinks he is. This inward-looking view may be right on the mark or not
even close. The difficulty a character has is that from inside himself it is impossible to
be sure who he is. All he can do is take clues from the reaction of those around him.
Interesting storytelling sometimes places a character among those who provide a warped
feedback that creates a false Sense of Self in the character. This erroneous image may be
far better, far worse, or simply different than his actual state of being. Other stories
force a character to come to grips with the fact that he is wrong about himself, and the
opinions of others are accurate. In a Main Character, the differential between Sense of
Self and State of Being is part of what separates the Subjective from the Objective story
lines. syn. perception of self, self image, self identity, self attribution
Senses [Variation] dyn.pr. Interpretation<-->Senses
sensory observations Senses refers to the raw data supplied to the mind to
interpret. Sometimes the data is accurate, other times it is faulty even before the mind
gets hold of it. Senses describes the overall accuracy of an observation (such as seeing a
crime or checking the results of a test). When taken in conjunction with its Dynamic Pair
of Interpretation, all manner of error or accuracy can be created. This provides the
author with a powerful storytelling tool to create comedies and tragedies based in error
and misunderstanding. syn. perceptual data, raw sensations, sensory
impressions, immediate impressions, perceptions
Sidekick [Archetype] An Archetypal Character who
represents the qualities of Faith and Support The Sidekick is the absolutely
faithful and supportive member of the Archetypal character set. Although frequently
attached to the Protagonist, the Sidekick is identified by what his qualities are, not by
who he is working for. In fact, the Sidekick might be attached to the Antagonist or not
attached at all. His function is to represent the qualities of faith and support, not
specifically to be in service of any other character. However, if the Sidekick is bound to
the Protagonist, he can be effectively used to mirror the Authors feelings about the
conduct of the Protagonist. Moving scenes can be created by a misguided Protagonist
actually alienating the faithful, supportive Sidekick. Although the Sidekick would never
turn against the Protagonist, he can turn away from him, leaving rather that being a party
to something he finds immoral or disappointing.
Situation [Variation] dyn.pr. Circumstances<-->Situation
a logistic assessment of ones environment Situation describes the ins,
outs, and practical considerations of the environment in which a character finds himself.
Throughout a story, the situation may evolve or may remain constant, depending upon the
essence of the message and the nature of the plot. Since it is limited to the practical,
Situation can only be measured and/or interpreted though Reason. syn. how
things stand rationally, a reasoned evaluation of environment, arranged context,
environmental state, surroundings, predicament
Skeptic [Archetype] An Archetypal Character
possessing the qualities of disbelief and oppose If a Sidekick is a
cheer leader, a Skeptic is a heckler. The Skeptic still wants to see its team win, but
doesn't think it can and is sure this is because the team members are going about it all
wrong. Therefore, the Skeptic exhibits disbelief and opposes all efforts. Of course, when
the team really is misguided, the Skeptic is in fact right on track. As with all
Objective Archetypes, the Skeptic applies it's outlook to hero and villain alike. In other
words, the qualities of disbelief and oppose describe the nature of the Skeptic -
not just it's opinion about a particular issue. So, the Skeptic also doubts the bad guys
are as powerful (or bad) as they are said to be, and opposes them as well. One purpose of
stories is to illustrate how well different personality types fare in the effort to solve
a particular kind of problem. Archetypal Characters represent the most broad categories
into which personality types might be categorized. The Skeptic provides the opportunity to
explore how well a doubter and naysayer does in resolving the story's troubles.
Skill [Variation] dyn.pr. Experience<-->Skill
inexperienced ability Skill is the innate potential to accomplish either
that which is physical or mental. It does not require the practical experience necessary
to tap that potential, just that the latent capacity exists. Skill might be seen as raw
physical ability, talent, or intellectual or emotional aptitude which may or may not ever
be developed. syn. proficiency, aptitude, competence, adeptness, degree of
expertise, practiced ability, honed ability
Solution [Element] the specific element needed to resolve
the storys problem The Solution Element is the "flip side" of the
Problem Element. In a Change story, for instance, the focus may be on the Problem Element
("The Main Character should not be this way") or the focus may be on the
Solution Element ("The Main Character should be this way"). So in a sense the
Problem Element is not by itself the cause of the storys problem, but works in
conjunction with the Solution Element to create an imbalance between two traits that need
to be balanced. The choice to present one as a negative trait defines it as the Problem
Element and its positive partner becomes the Solution Element. In Steadfast stories, the
Solution Element represents the nature of the things that would resolve the Objective
Story Problem. Again it is the "flip side" of the problem, but it has
exclusively to do with the Objective Story since the Main Character does not, in these
cases, share the same problem as the Objective Story.
Speculation [Element] dyn.pr. Projection<-->Speculation
an extension of possibilities into the future Speculation is the effort to
determine what could conceivably happen in the future even though it is not the most
likely scenario. Speculation leads a character to expect the unlikely in the event that it
actually occurs. Difficulties arise when Speculation runs rampant and a character puts
effort into preparing for things that are so unlikely as to be unreasonably improbable.
syn. prognostication, surmising possibilities, conjecturing
Start [Character Dynamic] Regarding the Main Character, the
audience is waiting for something to begin Start means something different in a
story where the Main Character has a Resolve of Change than in a story where the Main
Character has a Resolve of Steadfast. If the Main Character must Change because he lacks
an essential trait, then he must Start doing or being something they currently are not. If
the Main Character is holding out Steadfastly until something begins in his environment,
then he is waiting for something to Start. The term simply describes an aspect of the
growth which happens in the Main Character.
State-of-Being [Variation] dyn.pr. Sense of
Self<-->State-of-Being ones true nature State of Being describes
the actual nature of a character. The character himself is often not aware of the true
nature of his being. In fact, there may be no one at all who fully understands all that he
is. However, in the communication between Author and Audience, the essence of a character
must be fully explained or the storys message will be obscured. syn. essence,
ones true self, true self, essential nature, core being
Steadfast Character {Character Appreciation} the Subjective
Character who ultimately retains his essential nature from the beginning of the story to
the end of story Every Subjective Character (both the Main and Obstacle Character)
represents one special character element. This element is either the cause of the
storys problem or its solution. The Subjective Character cannot be sure which he
represents since it is too close to home. Near the climax of the story, each Subjective
Character must demonstrate whether he has stuck with his approach in the belief that it is
the solution or jumped to the opposite trait in the belief that he is the cause of the
problem. There will only be one Steadfast Character in every story, however when a
Subjective Character decides to stick with his story-long approach, he is said to Remain
Steadfast.
Steadfast [Character Dynamic] The Main Character ultimately
retains his essential nature Every Main Character represents one special character
element. This element is either the cause of the storys problem or its solution. The
Main Character cannot be sure which he represents since it is too close to home. Near the
climax of the story, the Main Character must demonstrate whether he has stuck with his
original approach in the belief that it is the solution or jumped to the opposite trait in
the belief he has been wrong. When a Main Character decides to stick with his story-long
approach, he is said to remain Steadfast.
Stop [Character Dynamic] Regarding the Main Character, the
audience is waiting for something to end Stop means something different in a story
where the Main Character has a Resolve of Change than in a story where the Main Character
has a Resolve of Steadfast. If the Main Character Changes because he possesses a
detrimental trait, then he Stops doing or being something he has been. If the Main
Character is Steadfast in holding out for something outside himself to be brought to a
halt, he is hoping that it will Stop. The term simply describes an aspect of the growth
which happens in the Main Character.
Story Mind The central concept from which Dramatica was derived is the
notion of the Story Mind. Rather than seeing stories simply as a number of characters
interacting, Dramatica sees the entire story as an analogy to a single human mind dealing
with a particular problem. This mind, the Story Mind, contains all the characters, themes,
and plot progressions of the story as incarnations of the psychological processes of
problem solving. In this way, each story explores the inner workings of the mind so
that we (as audience) may take a more objective view of our decisions and indecisions and
learn from the experience.
Story versus Tale A tale describes a problem and the attempt to solve it,
ultimately leading to success or failure in the attempt. In contrast, a story makes the
argument that out of all the approaches that might be tried, the Main Characters
approach uniquely leads to success or failure, or is at least the best or worst. In
a success scenario, the story acts as a message promoting the approach exclusively;
in the failure scenario, the story acts as a message exclusively against that
specific approach. Tales are useful in showing that a particular approach is or is not a
good one. Stories are useful in promoting that a particular approach is the only
good one or the only bad one. As a result of these differences, tales are
frequently not as complex as stories and tend to be more straight forward with fewer
subplots and thematic expansions. Both tales and stories are valid and useful structures,
depending upon the intent of the author to either illustrate how a problem was solved with
a tale or to argue how to solve a specific kind of problem with a story.
Storyform [Dramatica Term] The underlying dramatic skeleton
of a story When a story is stripped of all its details and Storytelling, what is
left are the appreciations and thematic explorations that make up a Storyform. When a
story fully illustrates the Storyform it is working from it will make a complete argument
without any "plot holes" because the argument of a story is its
Storyform.
Storyforming versus Story telling There are two parts to every
communication between author and audience: the storyforming and the storytelling.
Storyforming deals with the actual dramatic structure or blueprint that contains the
essence of the entire argument to be made. Storytelling deals with the specific way in
which the author chooses to illustrate that structure to the audience. For example, a
story might call for a scene describing the struggle between morality and self-interest.
One author might choose to show a man taking candy from a baby. Another might show a
member of a lost patrol in the dessert hoarding the last water for himself. Both what is
to be illustrated and how it is illustrated fulfill the storys mandate. Another way
of appreciating the difference is to imagine five different artists each painting a
picture of the same rose. One may look like a Picasso, one a Rembrandt, another like Van
Gogh, yet each describes the same rose. Similarly, different authors will choose to tell
the same Storyform in dramatically different ways.
Storyencoding [Dramatica Term] The process of developing a
dramatic structure into specific symbols, events, and scenarios There are four
stages in the process of communication from author to audience. They are: Storyforming,
Storyencoding, Storyweaving, and Storyreception. Storyforming
establishes the underlying dramatic structure of a story. Storyencoding turns raw story
points into specific scenarios, events, and dialog. Storyweaving determines how the
encoded story points will be revealed or unfolded to the audience. Storyreception refines
the story to tailor it for a specific audience. In practice, most authors work creatively
in more than one stage at a time. Dramatica separates the stages, allowing an author to
seek specific help and information regarding any part of the process. In keeping with this
approach, Storyencoding has its own purpose, yet relates to the other three stages as
well. As an example, one author might begin with Storyforming and then continue to
Storyencoding. Another might begin with Encoding and then approach Forming. As an example,
Author #1 makes a Storyform decision that the Goal of his story should be Obtaining.
Then, in Storyencoding, he illustrates or employs Obtaining as "The Goal is to Obtain
a Buried Treasure." Author #2 might begin in Storyencoding, writing, "The Goal
is to win Jan's love." Then, developing the structure that supports that story point,
the Author #2 approaches Storyforming, and out of all the structural choices, picks
"Obtaining" as Storyforming item that best describes his story's Goal. Any given
Storyforming item can be encoded in any number of ways. And, any already encoded story
point might be interpreted as any one of the Storyforming items. Regardless of which order
is taken, associating a Storyforming item with an encoded story point clarifies the
dramatic essence of the structure, as illustrated in a given form. This allows an author
to more precisely develop the overall story in a consistent and complete manner.
Storyforming the process of creating the unique dramatic structure of a
story When an author thinks of the way he wants his story to unfold in terms of the
point he wants it to make and how his characters will solve their problems, what that
author is doing is Storyforming. Before Dramatica, the tendency was to actually blend the
two processes of Storyforming and Storytelling together so that authors thought of what
they wanted to say and how they wanted to say it more or less simultaneously. But these
are really two distinct acts which can be done separately, especially with the help of
Dramatica.
Storyreception [Dramatica Term] The process of tailoring
the telling of a story to a specific audience Every culture and sub-culture has its
own lingo, taboos, and givens. As a result, most stories do not play the same for one kind
of audience as for another. Storyreception seeks to anticipate and take into account the
nature of the target audience to tailor the story so that it is received as intended.
Although we all have the capacity to feel the same emotions and make the same logistic
connections, our particular sub-culture may shy away from certain emotions, or brand a
particular kind of reasoning as inappropriate. Further, just because we may empathize with
the same emotions doesn't mean we all feel as deeply, or if we see logical connections
that we all grasp them as quickly. Especially when writing for audiences such as children,
it is important to consider depth and speed as well as buzzwords and popular symbols.
Often we can take advantage of cultural symbols to express mountains of sense and oceans
of mood with a single story point. Other time we must develop an inordinate amount of
media real estate to get across the most simple experiences, if they fall outside familiar
cultural bounds for out audience. The important point for an author is to determine the
target audience and make sure to be or become familiar enough with that audience to take
cultural expectations and taboos into account. For an enlightened audience, the task is to
recognize that other ingrained cultural imperatives exist, and to seek to appreciate a
story in the context in which it was created.
Storytelling [Dramatica Term] The process of communicating
a story's dramatic structure through the developing and unfolding of symbols, events, and
scenarios We've all heard good jokes told poorly. We've all hear terrible jokes
told well. When a good joke is told well, everything works together. When a bad joke is
told poorly, nothing can save it. Part of what makes up a story is the underlying dramatic
structure. Another part is the manner in which that structure is expressed. In a sense,
Structure represents the Craft of writing, and Storytelling represents the Art. The
structure itself is always invisible in the story, for it is the conceptual
framework connecting all the dramatic potentials. What is visible is the embodiment
of that structure in scenarios, events, and symbols, which collectively constitute the
Storytelling. Storytelling, therefore, must do two jobs: entertain the audience through
clever presentation and be focused enough to accurately convey the underlying structure.
Storyweaving [Dramatica Term] The process of unfolding a
story's dramatic structure over time There are four stages in the process of
communication from author to audience. They are: Storyforming, Storyencoding,
Storyweaving, and Storyreception. Storyforming establishes the underlying
dramatic structure of a story. Storyencoding turns raw story points into specific
scenarios, events, and dialog. Storyweaving determines how the encoded story points will
be revealed or unfolded to the audience. Storyreception refines the story to tailor it for
a specific audience. Storyweaving has two aspects: Exposition and Expression. Exposition
determines how information about the story will be doled out to the audience. Expression
implements the Exposition in specific words, events, dialog, music, visuals, etc. When
approaching Storyweaving it helps to know in advance what the story is about. Otherwise,
one is trying to arrive at a consistency in presentation at the same time one is trying to
determine what, in fact, ought to be presented. The Exposition aspect takes stock of all
the story points and information that must be conveyed to the audience, including
progressions of events which must occur in a particular order for the story to make
logistic sense. Then, a plan for revealing this information is worked out so that some
story points are presented directly, others are doled out over the course of the story,
others are hidden, and still others are designed to first mislead the audience and then
expose the fact of the matter. The Expression aspect is the most creative part of
authorship. It is here that a novelist writes the actual chapters, or a Playwright pens
the specific dialog. Even when the manner in which Exposition is to occur is known, the
means of Expression has yet to be determined. For example, if the Exposition plan has been
to reveal an important event in the backstory through a flashback, an author might choose
to Express that event and the manner in which the flashback occurs in any number of ways.
Collectively, Exposition and Expression translate what a story is about into the linear
progression of how the story unfolds and is revealed through Storyweaving.
Strategy [Variation] dyn.pr. Analysis<-->Strategy
a plan to achieve ones purpose or a plan of response The specific plan
or series of interconnected plans that are intended to produce a desired result is called
a Strategy. The sophistication of a strategy can range from complex to non-existent (if a
character prefers to wing it). Sometimes a strategy is on the mark, other times it is
completely inappropriate to its intended purpose. Either way, for the audience to
appreciate its apt or inept construction, the plan must be spelled out in full. In
storytelling, Strategy can define limits and draw out parameters for a story. This is a
useful variation to use for connecting theme to plot. syn. scheme, tactic,
plan, ploy, decided approach
Subconscious (The Subconscious) [Type] dyn.pr. Preconscious<-->Subconscious
basic drives and desires Subconscious describes the essential feelings that
form the foundation of character. These feelings are so basic that a character is often
not aware of what they truly are. When the Subconscious is involved, a character is moved
right to the fiber of his being. syn. libido, id, basic motivations, basic
drives, anima
Subjective Story Benchmark [Type] The standard by which
growth is measured in the Subjective Story The Subjective Story Benchmark is the
gauge that tells people how far along the Subjective story has progressed. It cant
say how much longer the story may go, but in regards to seeing how far away the concerns
are, both the Main and Obstacle Characters, as well as the audience, will look to the
Benchmark in order to make any kind of judgment. This Type item describes the nature of
the measuring stick which will be used in the Subjective story.
Subjective Story Catalyst [Variation] The kind of item
which serves to push the Subjective Story forward The Subjective Story Catalyst is
what creates breakthroughs and seems to accelerate the Subjective Story. In both the
Objective and Subjective Stories there occur dramatic "log-jams" when things
seem to be approaching a halt. This is when the Catalyst is necessary, for its
introduction will either solve the puzzle thats holding things up or else make the
puzzle seem suddenly unimportant so the story can continue.
Subjective Story Concern [Type] The principal area of
concern between the Main Character and the Obstacle Character The nature of the
things which the Main and Obstacle Characters want from their relationship; the Subjective
Story Concern describes how the audience sees the concern of the Main and Obstacle
characters relationship with each other being.
Subjective Story Direction [Element] The direction of
response in the subjective story; the apparent remedy for the symptom of the
difficulties between the Main Character and The Obstacle Character Subjective
Characters do the best they can to deal with the Subjective Story Problem, but because the
Main and Obstacle Characters are all looking at the problem from their subjective points
of view, they cant get enough distance to actually see the problem right away.
Instead they focus on the effects of the problem, which is called the Subjective Story
Focus, and choose to follow what they feel will be a remedy, which is called the
Subjective Story Direction.
Subjective Story Domain [Domain] the realm in which the
Subjective Story takes place; the background against which the relationship between the
Main and Obstacle Characters is played Stories are about meaning. Meaning is
created from perspective. Perspective is the relationship between what is being examined
and the point of view from where it is seen. Simply put, an author determines the subject
matter of a story and how he sees it. This is what becomes the message or meaning of the
story. There are four principal points of view which must come into play in all complete
stories. They are the Objective, Main Character, Obstacle Character, and Subjective views.
The Objective view of a story is the widest view, examining the issues that affect all the
characters in the story overall. There are four principal categories of subject matter
(called Classes). They are Universe, Mind, Physics and Psychology. In more
conversational terms we might think of them as (in the same order) Situation, Attitude,
Activity, Manner of Thinking. In reality, they represent external and internal states of
affairs and external and internal processes. Anything we might consider as subject matter
can be broadly categorized as being an external or internal state or process. When a point
of view is attached to the subject matter, the Class of subject matter becomes the Domain
or realm in which that point of view does its exploring. So, when the Objective view is
associated with a Class, that Class becomes the Objective Story Domain. The Subjective
Story Domain examines the issues that affect the relationship between the Main and
Obstacle Characters. An SS Domain of Universe means that some fixed external situation is
causing troubles for the characters, such as being stuck together as business partners. An
SS Domain of Mind means that fixed attitudes are the problem, such as two ministers'
differing attitudes regarding the existence of the soul in genetically engineered fetuses.
An SS Domain of Physics means that the two characters' difficulties arise from an
activity, such as a custody battle between parents. And an SS Domain of Psychology means
that the way the Main and Obstacle Characters think is the source of problems between
them, such as mother and daughter who vie for dominance.
Subjective Story Focus [Element] the principal symptom of
the difficulties between the Main Character and the Obstacle Character, where attention is
focused in the subjective story When there is a problem in the relationship between
the Main and Obstacle character, they look at it from their subjective point of view and
cannot see its actual nature because it lies on the level of their motivations. Instead
they focus their attention on what they believe to be the source of their problems which
is really an effect of the problem. This area is called the Subjective Story Focus.
Subjective Story Inhibitor [Variation] The kind of item
that serves to impedes the subjective storys progress The Subjective Story
Inhibitor is what prevents the Subjective Story from just rushing full speed to the
solution. It is like a brake mechanism which can be applied as the author pleases. The
introduction of this item will always slow the progress of the Subjective Story. It works
as the antidote to the Subjective Story Catalyst.
Subjective Story Issue [Variation] The central
thematic topic of the Subjective Story Each of the four Domains (Objective
Story, Main Character, Obstacle Character, and Subjective Story) has its own theme. This
occurs because each Domain is really just a different point of view examining the same
central inequity at the heart of the story as a whole. Each Domain, then, sees the
troubles in a different light and is therefore drawn to a different standard of values by
which to measure it. The thematic Issue in each Domain is that standard. The
Subjective Story Issue is the most contentious of the four. This is because the Subjective
Story itself is the most incendiary of the Domains, representing the clash of two
diametrically opposed belief systems. So, the thematic Issue of the Subjective Story
pertains to the Main and Obstacle Characters and everything that happens between them. An
author will use the Subjective Story Issue to draw philosophic value judgments about the
central subject matter of the story's passionate argument. The audience will get a sense
of what the heart of the story is all about, effectively, what the moralistic message is.
Subjective Story Problem [Element] the underlying cause of
the difficulties between the Main Character and the Obstacle Character This is the
actual source of the inequity between the Subjective Characters which lies at the level of
their motivations. Only by applying the Subjective Story Solution can the effects of this
inequity finally be dealt with.
Subjective Story Line the story as it relates to the relationship and
conflict between the Main and Obstacle Characters The passionate argument of a
story is carried by the relationship between the storys Subjective Characters--
namely, the Main and Obstacle Characters. The examination of their internal states and the
articulation of the storys passionate argument makes up the Subjective Story Line.
This is not the view from within the shoes of either the Main or Obstacle Characters, but
is rather like an objective view of their subjective relationship. It is a view of their
story together which always sees both of them.
Subjective Story Solution [Element] the specific element
needed to resolve the difficulties between the Main Character and The Obstacle Character
This is the item which will, if introduced, restore balance in the Subjective Story
and neutralize the effects of the Problem by replacing it. It may not be actually
implemented, but if it were adopted in the relationship between the Main and Obstacle
Characters, it would end the source of their conflict and change their relationship.
Subjective Story Type Order [Plot Structure] the
progressive sequence of activites and/or concerns engaged in to arrive at a solution to
the problem between the Main and Obstacle Characters, act by act As the Subjective
Story progresses act by act, it covers the Subjective Story Perspective (the Perspective
created by matching the Subjective Story Domain with one of the four Classes) Type by Type
around the quad of Types which it contains. These four explorations make up the four acts
and describe the kinds of things that will have to happen in order to arrive face to face
with the Subjective Story Problem.
Subplot [Storytelling] a less developed story hinged to the
main story Subplots are often misunderstood to be secondary subordinate stories
running in parallel to the main story. Such secondary stories are a valid storytelling
technique but they are not Subplots. A Subplot in not a separate independent story but an
amplification of a branch or aspect of the main story. Each Subplot is, indeed, a story in
its own right but it is connected to the main story through one of the objective
characters. This objective character does double duty as the Main Character (a subjective
character) in the subplot. As a result, it is inappropriate to hinge a subplot around
either the Main or Obstacle Characters of the main story as the two story lines would
become blurred and create confusion as to the message intended. In order to keep Subplots
from appearing to be the main story, it is important to draw them with less detail. This
does not mean they should be incomplete or sketchy, rather that the Subplot should be
explored in less depth. There can be as many Subplots as there are objective characters. A
large number of subplots will become unwieldy, however, and can needlessly complicate the
telling of a story, blurring or diverting the audiences understanding of the main
story. Similar to the Main Character of the main story, the Main Characters of the
subplots should be limited to one story each. Not all "multiple plot" stories
consist of subplots attached to a main plot. Frequently in serial programs such as soap
operas, certain forms of episodic television, and some written serials such as comic
strips, several complete stories run in parallel, connected only by their common setting
or by using the same ensemble of characters. In this form of storytelling, characters do
double duty, playing multiple roles in a number of separate plots which really do not
directly affect each other. The point of note is that an author should be aware of the
difference between subplot and multiple plot constructions so that the proper dramatic
connections can be made to create the greatest impact.
Success [Plot Dynamic] the original goal is achieved
Every objective storyline in a Grand Argument Story has at its beginning a desired outcome
to be sought after. Ultimately, the characters will either Succeed in achieving that
outcome or fail to do so. However, Success is not always a good thing. For example, it may
be that a character succeeds at something hurtful or evil. Even a well intentioned
character might achieve something that he is unaware will cause harm. Whatever its
quality, worth or ramifications, if the outcome desired at the storys beginning is
achieved, the story ends in Success.
Support [Element] dyn.pr. Oppose<-->Support
indirect assistance given to anothers efforts Support is not direct
help. Direct help is actively joining someone in an effort. Support is aiding the effort
without actually participating in it. For example, a character possessing the Help
characteristic would join someone in digging a ditch. The character representing Support
would provide a shovel and cheer them on. Support is a fine thing to keep ones
spirits up, but is awfully frustrating when you just need someone to lend you a hand.
syn. commend, extol, endorse, back, compliment, laud
Suspicion [Variation] dyn.pr. Evidence<-->Suspicion
questioning or forming a belief based on new evidence Suspicion is a
preliminary conclusion arrived at with insufficient evidence. It is valuable in helping
one know what kinds of things to look for in gathering additional evidence. But it can
also be a detriment because once a character suspects something, he is less likely to
examine all the evidence for a completely alternative explanation. syn. wary
approach, partially justified apprehensiveness, informed doubt, doubt based on evidence,
sensible caution
Sympathy [Overview Appreciation] The audience
will care about the Main Character, but it will not identify with him Sympathy
describes the relationship of the audience to a Main Character whom it cares about yet
does not identify with. To identify with the Main Character, empathy is needed, but some
story forms do not allow for empathy from either male or female audiences, and some
exclude both at once. But sympathy can still be a strong emotion, and creating a storyform
which will elicit sympathy can be a way to emphasize the intricacies in a storys
storytelling and Objective Story elements rather than its emotional side.
Temptation [Element] dyn.pr. Conscience<-->Temptation
the urge to embrace immediate benefits despite possible consequences
Temptation is the draw to belief that the negative consequences of an action are imaginary
or can be avoided. Often this is just a pipe dream, and when one gives into Temptation one
must pay a price. However, just as often one can avoid negative consequence and indulge
ones desires. It is our Faith and Disbelief in consequences that defines the
struggle between Conscience and Temptation. ("Psssst... Weve got this new
Dramatica program that will solve all your story problems but its going to cost you
some bucks...") syn. indulge, embracing immediate benefits,
intemperance, immoderation
Tendency [Overview Appreciation] the degree to which the
Main Character feels compelled to embrace the quest Not all Main Characters are
well suited to solve the problem in their story. They may possess the crucial element
essential to the solution yet not possess experience in using the tools needed to bring it
into play. Like most of us, Main Characters have a preference for how to go about solving
problems. Some prefer to immediately take action. We call these characters Do-ers. Others
prefer to deliberate first to determine if the problem might go away by itself or perhaps
they can adapt to it. We call these characters Be-ers. When a Do-er finds himself in a
story driven by Action he is quite at home. Similarly, when a Be-er finds himself in a
Decision driven story, he is quite content. Both of these combination lead to Main
Characters who are more than Willing to accept the quest for a solution to the
storys problem. They are comfortable with the tools they will be required to use.
But if a Do-er is placed in a Decision story or a Be-er is drawn into an Action story, the
Main Character will be very Unwilling to participate in the quest at all for the tools he
must use are not in his area of experience. Willing Main Characters force the plot
forward. Unwilling Main Characters are dragged along by circumstances beyond their
control.
Test [Element] dyn.pr. Trust<-->Test a
trial to determine somethings validity To test is to try out a supposition to
determine if it is correct. "Run it up the flagpole and see if people salute it"
is the concept here. Any explanation that makes sense has the potential to be correct or
incorrect once it is actually tried in "the real world." The Test characteristic
will always want to try things out before using it. This can weed out faulty items before
they break down when one relies on them. However, it can also waste time when it is of the
essence or waste one of the three wishes just to see if it works. syn. trial
of validity, examination, audit, inspection, scrutinization
Theme [Dramatica term] an argument about the relative worth of different
value standards as they are compared in all appropriate contexts Theme is developed
by creating varying perspectives within a story on an issue which is central to the story.
Presenting these perspectives in such a way that the most appropriate one, according to
the author, moves to the forefront conveys theme to an audience. Theme occurs in both
progressive and static elements of a storys structure and is a consideration in all
four stages of communication (Storyforming, Storyencoding, Storyweaving, and Reception).
Theory [Element] dyn.pr. Hunch<-->Theory
an unbroken chain of relationships leading from a premise to a conclusion A
Theory is an unbroken web of relationships that describes a mechanism. To be a theory, the
actual mechanism of each relationship in the Theory must be known as well. Unless it is
understood how point A gets to point B, it might just be coincidental. For example, if two
completely different and separate mechanisms are working in the same area, it may appear
that one is causing a certain effect when it is really the other. Developing Theories
gives the character representing Theory the ability to understand and predict how things
work and fit together. The drawback is that he will not accept an obvious relationship
unless all its steps can be discovered. As a result, many "common sense"
approaches and understandings are not used, despite their proven value. syn. structured
explanation, concrete hypothesis, systematized descriptive knowledge, description of
linear connections
Thought [Element] dyn.pr. Knowledge<-->Thought
the process of consideration When a character represents Thought, he
illustrates the process of consideration. Unlike the logic element that is only concerned
with arriving at a conclusion via reason, Thought deliberates both logical and emotional
aspects of a problem, not particularly to decide an issue so much as to examine it from
all perspectives. This has the advantage of illuminating every side of an issue, but has
the potential disadvantage of Thought becoming an endless loop where consideration runs
round in circles, chasing its mental tail and never coming to rest in a decision. syn.
the process of consideration, thinking, contemplation, mental attention, running over
in your mind
Thought [Variation] dyn.pr. Knowledge<-->Thought
the process of consideration Thought is not always directed. Often it
wanders, experiential and without conscious purpose. Thought might be about a topic or
simple random musings or creative daydreaming or inspiration. At its most essential level,
Thought is simply the mental force of change that rearranges the inertia of knowledge.
syn. consideration, contemplation, ponderence, musing, reflection
Threat [Variation] dyn.pr. Security<-->Threat
an evaluation of potential negative forces Threats are indicators or
warnings that danger lurks. Avoiding real danger can be enhanced by acting at the first
sign of a Threat. However, reading the indicators is a subjective endeavor. Ones
biases and experiences may lead to inaccurate assessments of Threats. They may be real or
imagined. When a character avoids actions or behaviors because he perceives a Threat that
is truly imaginary, he might stunt his own progress toward his purpose based on an unreal
fear. syn. perceived danger, indication of peril, perceived vulnerability,
warning, detected hazard
Throughline [Dramatica Term] A sequence of story points
within a single perspective The Objective Story, Subjective Story, Main Character,
and Obstacle Character Domains each represent a different perspective on a story's
problems. Each own distinct sequence of story points which must be consistent both within
the perspective and also in conjunction with the other perspectives in the story as a
whole.
Timelock versus Optionlock The two kinds of limits that can force a story
to its climax , running out of time or running out of options Stories would go on
forever unless they were limited in some way, forcing an end to action and/or decision.
One way to bring a story to a conclusion is with a timelock which limits how long the
characters have to solve the problem. The limit might be a bomb set to go off, the timing
mechanism on a safe, or the poison that takes effect in 24 hours- anything that has a
specific deadline and needs to be prevented or achieved. The other way to force a story to
end is with a optionlock which limits how many things the characters can try to solve the
problem -- trapped aboard a spaceship with a vicious creature with no one coming to the
rescue, trying to escape from Alcatraz, struggling to save a relationship -- anything that
has a specific scope and needs to be resolved. So in short, in a timelock the characters
run out of time, in a optionlock the run out of options. As a side note, timelocks and
optionlocks can co-exist but only one can be the real limit that forces the climax.
Timelock [Plot Dynamic] the story climax is brought about
by a time limit If not for the story being forced to a climax, it might continue
forever. When a story is brought to a conclusion because the characters run out of time,
it is said to contain a Timelock. As an analogy, a story might be thought of as the effort
to find the solution to the storys problem which is hidden in one of the rooms of a
mansion. Each room contains a clue to the actual location of the solution. The Main
Character is told he may search as many rooms as he likes in five minutes. At the end of
five minutes he is given a choice. Based on the clues he has already found, he must decide
if the solution is in one of the rooms he already searched or in one of the rooms he has
not yet searched. Either choice may lead to success or failure, but because running out of
time forced the choice it is a Timelock story. The choice represents the Timelock which
brings the story to a close and forces such appreciations as Main Character Resolve
(Change or Steadfast), Outcome (Success or Failure), and Judgment (Good or Bad).
Trust [Element] dyn.pr. Test<-->Trust
acceptance without proof To Trust is to accept without trial. Whether a concept,
relationship, person, or mechanism, it will be accepted by the character possessing the
Trust characteristic without supportive evidence. This helps him to get on with the job at
hand in the most efficient manner, but opens him up to disastrous surprises when an
assumption is proven incorrect at a critical moment. syn. untried
acceptance, untested belief in, accept implicitly, assumed dependability, unquestioned
reliance on
Truth [Variation] dyn.pr. Falsehood<-->Truth
that which is actually correct Truth is more than facts and accuracy. Truth
is meaning. Whenever someone is quoted out of context, what is reported may be factual and
may be accurate but it is not Truthful. Meaning depends upon intent and purpose. That is
the beauty of the legal system -- that even if someone is caught red-handed, the jury can
acquit because it feels there were mitigating circumstances. The problem with Truth is
that it is an interpretation and therefore open to debate. One persons Truth is
anothers Falsehood. syn. honesty, correct information, correct notion,
verity
Type [Structural Term] The 16 terms which are
grouped directly beneath the Classes which most strongly affect Plot There are 16
Types in the Dramatica structure, four to each Class. The Classes each represent a
different point of view and the Types in that Class represent a more refined exploration
of that point of view. In a sense, Types describe the basic categories of what can be seen
from a given point of view. Just as Domain level appreciations create genre-like brush
strokes in the story structure, Type level appreciations determine the nature of the plot.
Unending [Element] dyn.pr. Ending<-->Unending
continuing without cessation The Unending characteristic sees nothing as
ever coming to completion. What others may see as an end, this characteristic sees as a
change of direction. For example, obtaining a diploma is seen not as an end of college but
as another step in ones career (which is Unending). This has an advantage of
"never saying die," which helps the motivation stay alive to keep
trying. On the other hand, seeing a bad thing as unending can rob one of motivation. Also,
when something is really over, the character representing Unending cant see it. This
might be a former relationship or a current job that he takes for granted. syn. continual,
ongoing, perpetual, ceaseless, interminable, incessant, perennial
Uncontrolled [Element] dyn.pr. Control<-->Uncontrolled
directionless, unconstrained The character representing Uncontrolled spreads
himself very thin by expending his energy and motivation in all directions at once. As a
result, he is fully involved in his environment, which covers all the bases. Yet, because
his attention is randomly distributed, there is not single direction to his thrust.
Therefore, the Uncontrolled character frequently spends a lot of energy getting nowhere.
syn. unregulated, disorganized, unfocused, rampant, unguided, open, frenzy
Understanding [Type] dyn.pr. Learning<-->Understanding
appreciating the meaning of something Understanding is different from
knowledge. From knowledge one gets awareness, from Understanding one gets meaning. To
obtain meaning requires not only knowing the substance of its nature but the context of
its essence. In other words, one must not only define what something is but how it fits
into the larger picture as well. To this end, Reason describes the function and Emotion
defines the purpose. So Understanding is not just an intellectual pursuit but requires an
empathy with the meaning as well. It is useful to note that many Eastern and ancient
philosophies define Understanding as "becoming one with" that which is being
considered. Until one joins his subject in unity, he cannot understand it. syn. comprehending,
grasping, appreciating, obtaining meaning, acquiring meaning
Unique Ability [Variation] The item that makes the Main
Character uniquely able to determine the Objective Story's outcome; the item that makes
the Obstacle Character uniquely able to pressure the Main Characters to Change
Just as a requirement defines the specific nature of things needed to achieve a
particular goal, Unique Ability defines the specific quality needed to meet the
requirement. Unique Ability is another way in which the Main Character is identified as
the intersecting point between the Subjective and Objective stories as it is only he who
ultimately has what it takes to meet the test of the requirement and thereby achieve the
goal. The Unique Ability need not be anything extraordinary but must be the one crucial
quality required that is shared by no one else. Frequently, the Unique Ability is in
keeping with the Main Characters position or profession, however it can be much more
interesting to assign an incongruous Unique Ability. In either approach, it is essential
to illustrate the existence of the Unique Ability in the Main Character several times
throughout the story, even if it is not employed until the climax. In this way, it becomes
integrated into the nature of the Main Character and does not seem conveniently tacked on
when it is ultimately needed. Also, the Unique Ability can be extremely mundane. The key
is that the ability does not have to be unique by nature, but just possessed uniquely in
that specific story by the Main Character. Clever storytelling may arrange the climax of
the story so that some completely ordinary and insignificant Unique ability makes the
difference in the outcome of a cosmic struggle.
Universe [Class] dyn.pr. Mind<-->Universe
a situation or environment The Universe Class is where any fixed state of
affairs is explored, such as an institution, system, or situation that remains stable and
unchanging. The point may be to show that the system is good, bad, or neutral, but the
focus must be on the system not on how the system is changing. syn. a
situation, a set of circumstances, state of affairs, predicament, environment, milieu
Unproven [Element] dyn.pr. Proven<-->Unproven
a conjecture that has not been tested Unproven describes an understanding
suspected to be true but not substantiated enough to call it fact. The character
representing Unproven will not accept anything as fact just because the theory has worked
so far. No matter how many times or how many ways evidence builds to support the
contention, Unproven will not be satisfied until the conclusion is absolutely drawn in
hard data not just road tests. This keeps the character representing Unproven from jumping
to conclusions, but makes him less able to accept the obvious conclusion unless it is
directly observed in a way that is not open to alternative interpretation. syn. unverified,
unconfirmed, unestablished, undemonstrated, untried
Unwilling [Overview Appreciation] The Main Character
unwillingly participates in the effort to find a solution to the story problem
Unwilling describes a Main Character who would prefer not to become involved in either the
problem or the search for a solution. As a result, some sort of leverage must be applied
to "force" him to join the quest. Once the Main Character is enticed or coerced
into beginning the journey toward a solution, he requires outside encouragement or
compulsion to keep up the effort.
Value [Variation] dyn.pr. Worth<-->Value
the objective usefulness or desirability of something in general Value is a
good indicator by which to predict its import to others. However, no one really thinks
completely objectively so there is always a degree of personal preference included in a
determination of Value. Difficulties arise when a character neglects the personal worth
someone else may or may not find in something of specific value. For example, a Boss may
find it of no direct Value, but placing a candy bar on each employees desk for them to
find in the morning can have a lot of worth to the employee. Indirectly, then, Value is
returned to the Boss in the form of a better days work. But seeing the indirect
Value is difficult from the subjective view. Learning to see items and actions not just
for their intrinsic Value, but for their conditional Value is a strong thematic message.
syn. utility, objective appraisal, general usefulness
Variation [Structural Term] The 64 items that can be
employed in a story's thematic arguments The variations describe the thematic
message and the development of that message in the story. Variations are measuring sticks
by which the author wishes his message to be evaluated. It is the discrepancy between
opposing ways of evaluating the meaning of the story that creates the thematic statement
as to which is the best way or that one way is no better or worse than another. There are
64 Variations in the Dramatica structure, 16 to each Class.
Willing [Overview Appreciation] The Main Character
willingly participates in the effort to find a solution to the story problem
Willing describes a Main Character who is self-motivated to find a solution to the
storys problem. Even if the going is tough, he requires no outside encouragement or
compulsion to keep up the effort.
Wisdom [Variation] dyn.pr. Enlightenment<-->Wisdom
understanding how to apply Knowledge Wisdom is the meaning of what is known.
A Character may be aware of facts but unless he sees the pattern that organizes those
facts, the knowledge alone may be useless. Wisdom, therefore, does not describe just being
aware of something but understanding how many bits of knowledge fit together . syn.
mental mastery, integrated understanding, seasoned understanding, comprehension,
astute cogency
Work [Variation] dyn.pr. Attempt<-->Work
applying oneself to something known to be within ones ability When a
task lies within ones known abilities, effort applied to the task is Work. There are
no surprises; no short-comings. But has one accurately judged both ones abilities
and the demands of the task? If not, perhaps the task is not achievable or of a size that
one must increase ones abilities before undertaking it. syn. appropriate
undertaking, suitable task, manageable labor, a performable activity
Worry [Variation] dyn.pr. Confidence<-->Worry
concern for the future Like confidence, Worry looks toward the future but is
based on a projection of negative experience. When in the past seemingly innocuous
situations have developed into disasters, one learns to Worry at the slightest evidence of
instability. Worry has the positive quality of motivating one to prepare for the worst. If
the worst happens, the character representing Worry is truly prepared. But how often does
the worst actually happen? The downside is that resources one might use to make advances
are wasted just trying to protect the status quo. And those who worry tend to avoid
unknown situations that might hold substantial rewards. syn. anxiety,
concern, apprehension, misgivings
Worth [Variation] dyn.pr. Value<-->Worth
a rating of usefulness or desirability to oneself personally Worth describes
the subjective value of an item or action to an individual. Of course, this varies greatly
from individual to individual. This is the nature of garage sales one womans
trash is another womans treasure. Making choices on the basis of Worth is an
efficient way to get the most with ones resources. But there may be all kinds of
potential locked in something a character considers worthless because objectively it has
great Value. For example, Native Americans used gold simply as a decoration. To them it
had little other Worth. Of course to Europeans it had significant Value. A character who
ignores potential value because of low Worth can live to regret the deals he makes in a
story, both physically and emotionally. syn. subjective value, individual
appraisal, personal importance
Dramatica Synonyms
Ability [Element]
innate capacity, capability, talent for, inherent proficiency
Ability [Variation] talent, knack, capability, capacity,
faculty
Acceptance [Element] acquiescence, tolerance, allowance
for, consent, submission
Accurate [Element] within tolerance, sufficient, adequate,
acceptable, passable
Actuality [Element] the true state of things, objective
reality, factuality, demonstrable existence, demonstrable reality
Analysis [Variation] evaluation, examination, breakdown of
situation, close investigation, scrutinization
Appraisal [Variation] first impression, preliminary
understanding, initial approach, initial assimilation
Approach [Variation] method, procedure, style, manner,
manner of doing, ones own way
Attempt [Variation] try, uncertain undertaking, speculative
endeavor, dubious effort, endeavor, unlikely venture
Attitude [Variation] demeanor, manner of approach,
countenance, behavioral outlook, perspective on doing
Attraction [Variation] allure, enticement, charm,
captivate, appeal, draw, lure
Avoid [Element] evade, dodge, elude, escape, steer clear
of, prevent
Aware [Element] outward perceptiveness, external
sensitivity, consciousness of the external, responsive
Becoming [Type] embodying, manifesting, personifying,
incarnating, transforming
Being [Type] pretending, appearing, acting like, seeming
as, fulfilling a role
Cause [Element] engender, induce, elicit, determinant,
reason for, factor, effector, source, agent, antecedent
Certainty [Element] sureness, definiteness, having no
doubts, total reliability, indisputability, irrefutability, unmistakability, certitude,
conviction
Change [Element] altering, altering force, modify, reshape,
adjust, adapt
Chaos [Element] randomness, anarchy, disorder,
formlessness, noncohesion
Choice [Variation] decision, selection, determination, pick
Circumstances [Variation] how things stand emotionally,
emotional evaluation of the environment, value of existing conditions, relationship to
others
Closure [Variation] finishing, completion, resolution,
recursive
Commitment [Variation] dedication, devotion, steadfastness,
zeal
Conceiving [Type] originating, inventing, devising,
engendering, hatching ideas
Conceptualizing [Type] visualizing, imagining, envisioning,
visualizing implementation
Conditioning [Variation] habituation, trained response,
accustomed response, adaptive adjustments
Confidence [Variation] hopeful prospects, positive
expectations, faithful anticipation, optimism
Conscience [Element] forgoing for fear of consequences,
forgo, forbearance, temperance, abstinence, restraining oneself
Conscious [Type] considerations, sensibilities, cognizant,
ability to consider, sensible, informed contemplation, contemplation
Consider [Element] deliberate, contemplate, ponder, weigh
in the mind, mull
Control [Element] regulate, organized management, steer,
conduct, guide, manipulate, focused organization
Deduction [Element] drawing a conclusion, process of
elimination, demonstrative reasoning, narrowing to a single point
Deficiency [Variation] inadequacy, insufficiency, deficit,
unfulfilled need
Delay [Variation] put off, retard, postpone, defer,
suspend, prolong, procrastinate
Denial [Variation] not accepting, refusal to end,
unwillingness to let go, refusal to back down, stubbornness, uncompliant
Desire [Element] drive, motivational goal,
unfulfillment,
source of discontent, essence of motivation
Desire [Variation] want, favor, like, covet, prefer, wish,
aspire
Destiny [Variation] inescapable path, predetermined
trajectory, set direction of the future, inevitable path, unavoidable trajectory
Determination [Element] ascertaining causes, discovering
causes, finding the reasons why, figuring out factors, discerning antecedents
Disbelief [Element] refusal to accept, distrust, find
unconvincing, find false, unpersuadability
Doing [Type] performing, executing, effecting action,
acting
Doubt [Variation] pessimism, uninformed misgivings,
uncertainty, trepidation, distrust
Dream [Variation] aspire, desiring the unlikely, pulling
for the doubtful, airy hope, glimmer, far fetched desire
Effect [Element] result, consequence, outcome, culmination,
the ensuing
Ending [Element] conclusion, finish, completion,
termination, close
Enlightenment [Variation] insight, illumination, intuitive
discernment, transcendent comprehension
Equity [Element] balance, fairness, parity, equilibrium,
level, even
Evaluation [Element] appraisal, analysis, assessment,
survey, examination
Evidence [Variation] proof, indicator, supporting
information, corroborating facts, grounds for belief, substantiation
Expectation [Element] anticipated results, eventual
outcome, presumed prospects, probable denouement, likely consequences
Expediency [Variation] advisability, convenience, prudent
efficiency
Experience [Variation] familiarization, level of practice,
seasoning, accumulated feelings, accumulated dealings with
Fact [Variation] belief in the genuine, ultimately real
beliefs, truly real beliefs, authentic notion, authentic idea, correct knowledge, correct
beliefs
Faith [Element] acceptance without proof, steadfast belief,
confidence in unproven, credence, unquestioned trust
Falsehood [Variation] erroneousness, untruth, erroneous
notion, mistaken, astray, dishonest
Fantasy [Variation] false belief, faith in the imaginary,
delusion, erroneous conviction
Fate [Variation] inevitable events, unpreventable
incidents, eventual events, destined occurrence, destined events, unavoidable situations
Feeling [Element] empathy, emotional sensibility, affective
outlook, sentiment, emotional assessment
Future [Type] what is to come, what will be, prospect,
prospective
Help [Element] aid, assist, support, bolster, abet
Hinder [Element] retard, obstruct, impede, fetter,
undermine, block, burden, encumber, thwart
Hope [Variation] desired expectation, optimistic
anticipation, confident aspiration, promise, encouraging outlook
Hunch [Element] intuition, premonition, impression,
suspicion
Inaction [Element] passive reaction, inactive response,
achieve through not doing
Induction [Element] postulate, predicate, conjecture,
infer, hypothesize, determine possibility
Inequity [Element] imbalance, unfair, disparity, unequal,
uneven, disproportionate
Inertia [Element] tendency to continue, a change resistant
pattern, continuation, following an established direction
Instinct [Variation] involuntary drive, innate impulse,
unconditioned response, automatic response, unconditioned motivation
Interdiction [Variation] altering the future, interfering
with the predetermined, hindering the inevitable, escaping the predestined
Interpretation [Variation] construe, rendition, rendering
meaning, elucidate, translating meaning
Investigation [Variation] inquiry, research, probe,
sleuthing, delving, query
Knowledge [Element] learnedness, held truths, authoritative
certainty, generally agreed upon truths
Knowledge [Variation] held truth, maintained information,
presumed facts, accepted ideas
Learning [Type] cultivating experience, acquiring
information, collecting data, gathering knowledge
Logic [Element] linear reasoning, rationality, structural
sensibility, syllogistics
Memory [Type] remembering, recollections, reminiscence,
recalling, retention
Mind [Class] attitude, fixation, position on an issue,
fixed point of view, disposition
Morality [Variation] selflessness, altruism, benevolence,
generosity
Need [Variation] subjective necessity, urge, demand,
imperative
Non-Acceptance [Element] run counter to, reject, decline,
repudiate, resist, refusal to compromise
Non-Accurate [Element] not within tolerance, insufficiency,
inadequacy, deviancy, deficient to the purpose
Obligation [Variation] agreement, pledge, contract,
accepted compulsion, emotional contract
Obtaining [Type] controlling for oneself, possessing,
having, keeping
Openness [Variation] broad mindedness, tolerance,
willingness to reevaluate, receptiveness
Oppose [Element] object to, speak out against, argue
against, protest, dispute, show disapproval of, detract from
Order [Element] structure, patterned arrangement,
organization, patterned formation, formation, configuration, patterned sequence
Past [Type] history, what has happened, former times,
retrospective
Perception [Element] appearance, how things seem to be,
discernment, a particular reading of things, a point of view on reality, a way of seeing
Permission [Variation] constrained ability, limited
capability, restricted capacity, hindered performance, allowed limitations, restrained
utility
Physics [Class] an activity, an enterprise, an initiative,
an endeavor, an operation
Possibility [Element] plausibility, viability, conceivable
eventualities, open assessment
Potentiality [Element] chance, precariousness, focusing on
the uncertain, going with the improbable
Preconception [Variation] prejudice, closed mindedness,
narrow mindedness, intolerance, stubbornness, unwillingness to reevaluate
Preconditions [Variation] provision, prescribed
specification, imposed stipulation, limiting parameters, imposed limitations
Preconscious [Type] unthinking responses, immediate
responses, impulse, impulsive response, instinctive response, innate response, reflex
Prediction [Variation] foresight, foreseeing, anticipation,
envisioning ones future, prophecy, forecast, foretell, prognosticate
Prerequisites [Variation] essential steps, necessary
requisites, compulsory stipulation
Present [Type] how things stand, the here and now, current
situation, as of this moment
Proaction [Element] to initiate action, execute, undertake,
commit, implement
Probability [Element] likelihood, prospective, predictable,
promising
Process [Element] chain of interactions, manner of
procedure, cause/effect relation, progression, ongoing pull or tendency
Production [Element] determining potential, noticing
possibilities, ruling out future impossibilities, discovering of potential
Progress [Type] flowing, advancing, proceeding, moving
forward, developing step by step, graduated, staging, successive, procession, the way
things are going
Projection [Element] anticipation, how things will be, most
likely, probable
Protection [Element] defense, safeguard, preservation,
precaution
Proven [Element] verified, confirmed, corroborated,
established, demonstrated, shown
Psychology [Class] ways of thinking, thinking process,
activity of the psyche, manipulation of others
Pursuit [Element] seek, go after, attempt to achieve, look
for, directed effort
Rationalization [Variation] fabricated excuse, ulterior
explanation, false justification, artificial reason
Reaction [Element] response, reply, acting from stimulus,
goaded to action
Re-appraisal [Variation] reassess, rechecking, checking up,
re-examining a conclusion, re-evaluating a conclusion
Reconsider [Element] re-examining conclusions, rethinking,
to mull over again, further deliberation, additional scrutiny
Reduction [Element] determining probability, comparisons of
potentiality, measurement of likelihood, judging probabilities
Re-evaluation [Element] re-appraisal, further assessment,
subsequent analysis, scrutiny of first impressions
Repulsion [Variation] unattractive, repellent, foreboding,
unsavory, pushing away, forcing back
Responsibility [Variation] assumed propriety, believed
appropriateness, self designated aptness, accepted suitability
Result [Element] ramifications of an effect, consequence,
repercussion, impact, end product
Security [Variation] evaluation of safety, measure of
safeguards, appraisal of ones protections, gauge of defenses
Self-Aware [Element] self-conscious, conscious of
ones existence, self-perceiving, self-appreciating, self-cognizant
Self-Interest [Variation] self-serving, self-centered,
narcissistic, selfishness, self-absorbed, egocentric
Sense of Self [Variation] perception of self, self image,
self identity, self attribution
Senses [Variation] perceptual data, raw sensations, sensory
impressions, immediate impressions, perceptions
Situation [Variation] how things stand rationally, a
reasoned evaluation of environment, arranged context, environmental state, surroundings,
predicament
Skill [Variation] proficiency, aptitude, competence,
adeptness, degree of expertise, practiced ability, honed ability
Speculation [Element] prognostication, surmising
possibilities, conjecturing
State-of-Being [Variation] essence, ones true self,
true self, essential nature, core being
Strategy [Variation] scheme, tactic, plan, ploy, decided
approach
Subconscious [Type] libido, id, basic motivations, basic
drives, anima
Support [Element] commend, extol, endorse, back,
compliment, laud
Suspicion [Variation] wary approach, partially justified
apprehension, informed doubt, doubt based on evidence, sensible caution
Temptation [Element] indulge, embracing immediate benefits,
intemperance, immoderation
Test [Element] trial of validity, examination, audit,
inspection, scrutinization
Theory [Element] structured explanation, concrete
hypothesis, systematized descriptive knowledge, description of linear connections
Thought [Element] the process of consideration, thinking,
contemplation, mental attention, running over in your mind
Thought [Variation] consideration, contemplation,
ponderence, musing, reflection
Threat [Variation] perceived danger, indication of peril,
perceived vulnerability, warning, detected hazard
Trust [Element] untried acceptance, untested belief in,
accept implicitly, assumed dependability, unquestioned reliance on
Truth [Variation] honesty, correct information, correct
notion, verity
Unending [Element] continual, ongoing, perpetual,
ceaseless, interminable, incessant, perennial
Uncontrolled [Element] unregulated, disorganized,
unfocused, rampant, unguided, open, frenzy
Understanding [Type] comprehending, grasping, appreciating,
obtaining meaning, acquiring meaning
Universe [Class] a situation, a set of circumstances, state
of affairs, predicament, environment, milieu
Unproven [Element] unverified, unconfirmed,
unestablished,
undemonstrated, untried
Value [Variation] utility, objective appraisal, general
usefulness
Wisdom [Variation] mental mastery, integrated
understanding, seasoned understanding, comprehension, astute cogency
Work [Variation] appropriate undertaking, suitable task,
manageable labor, a performable activity
Worry [Variation] anxiety, concern, apprehension,
misgivings
Worth [Variation]
subjective value, individual appraisal, personal importance [Variation]
subjective value, individual appraisal, personal importance [Variation]
subjective value, individual appraisal, personal importance