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 Character’s 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 he’s 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 Character’s 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 he’s 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 Character’s 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 he’s 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 he’s 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 Character’s 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, one’s 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 Author’s 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 story’s 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 story’s contention that one world view is better than another in terms of leading to personal fulfillment. An author can use his story’s 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 one’s ability • When there is a question as to the match-up of one’s 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

Author’s 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 Author’s 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 Character’s justification built up over time, leading him to intersect with the story’s 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 story’s 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 story’s 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 one’s 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 Character’s 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 Character’s 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 storyform’s 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 that’s 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 other’s Steadfastness and become that story’s 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 story’s 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 story’s 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 Character’s 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 story’s 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 story’s 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 story’s 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 one’s 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 one’s 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 Guardian’s "Conscience." Because the Contagonist has a negative effect upon the Protagonist’s 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 Protagonist’s 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 it’s worth."

Critical Flaw • [Variation] • The Subjective Character trait that inhibits or undermines the effectiveness of that Subjective Character’s Unique Ability • To balance the Main Character’s 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 Character’s 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 Character’s 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 Character’s 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 problem’s 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 doesn’t 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] what’s in the box or what’s 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 one’s 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 one’s Destiny directs one’s 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 wasn’t 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 can’t 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 he’s 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 story’s 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 one’s 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 wasn’t quite unimaginable. One Dreams of winning the lottery even though one "hasn’t 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 it’s 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 one’s 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 story’s 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 story’s 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 enemy’s 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 it’s 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 author’s 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 author’s 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 one’s 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 character’s 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 character’s 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 story’s 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 one’s ability to arrive at one’s 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 one’s 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 one’s 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 one’s 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 Character’s 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 storyform’s 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 Author’s 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 story’s 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 story’s 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 story’s 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 another’s effort • The Help characteristic assists another’s efforts. This can be a real boon to someone struggling to achieve. Sometimes, however, someone doesn’t 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 another’s effort • The Hinder characteristic strives to undermine another’s 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 there’s smoke, there’s 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 "I’ve 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 harm’s 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 one’s 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 one’s satisfaction depends on random success and the limits of one’s 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 wouldn’t matter if the outcome was good or bad as long as it was accomplished. The choice of Good or Bad places the author’s moralistic judgment on the value of the Main Character’s 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