For you Dramatica Theory Hounds, here are a couple of cryptic illustrations I jotted down more than a quarter of a century ago as part of the ongoing extension of the Dramatica theory of narrative structure.
Scroll down to see scans of my original notes. In the first image, you’ll see four different visualizations, each a different aspect of the structure and dynamics of the Dramatica model.
The second image moves beyond Dramatica to place it in context of even larger systems. If you think of Dramatica’s “Story Mind” model as map of the nature and process of self-awareness itself, then the second image shows how self-awareness fits in a larger system describing the relationship of the individual mind to the group mind and the relationship of psychology to physics.
Collectively, these two illustrations were all part of an attempt to more thoughoughly define four Super Classes and their smaller components. What are Super Classes? Think of the entire Dramatica model as it currently exists and then imagine that whole model is just one element in a quad of four such similar models. The current version and each of its family members in that overarching quad are all considered “Super Classes” because each contains four Classes.
By way of interest, each Super Class and the quad family that contains all four is aligned in a K-based (Knowledge-based or system of defined constants) bias to maintain the consistent bias established in the first Super Class developed – the now familiar Dramatica “Rubik’s Cube.”
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
Now that we’re familiar with some of the elements of structure with a nod toward storytelling techniques, it might be a good time to consider how we might create and maximize the meaning of our story for our readers or audience.
All meaning comes from perspective – putting things in context. Perspective is created by the combination of what you are looking at, and where you are looking from. Change the object of your intention and perspective is altered. Shift your point of view and perspective shifts as well.
The Dramatica story structure chart is a map of a story’s perspective that describes how your readers or audience will be positioned in regard to the issues you wish to explore.
The chart is divided into four different sections, each one representing a different kind of topic. The first section deals with stories about fixed situations, such as being stuck in a collapsed mine or struggling with a disability. The second area is for stories about activities like trying to win a race or the effort to discover a lost civilization. The third covers stories about fixed attitudes, mindsets, fixations or prejudices. And the final part deals with changing attitudes, manners of thinking, and emotional progressions such as slipping into a depression.
Each of these topic categories is called a “class” of topics, and each has a name. The area that covers situations is called the “Universe Class” because it centers on a fixed external state of things. The part dealing with activities is called the “Physics Class” because it is about external processes. The third section of topics is the “Mind Class” because it is about fixed internal states. The final realm is the “Psychology Class” since it focuses on internal processes.
Simply put, there are two external classes and two internal classes. Similarly, two of the classes deal with states and two with processes. As you can see, the Dramatica chart maps virtually every kind of consideration you might want to explore in a story, for there isn’t any story issue that doesn’t fall into a category as either an external or internal state or process.
But, what we wish to talk about in our story – what we are looking at – is only half of what creates the perspective that contains meaning. To complete the structure of our story we need to add points of view to the topics under consideration.
Just as there are four classes of topics, there are also four points of view. They are the Objective, Subjective, Main Character, and Obstacle Character. The Objective view explores your story’s topics as would a general on a hill watching a battle in the valley down below. Though he cares about the conflict below him, he is not directly participating and also sees a bird’s eye view of the broad strategies involved. Essentially, the Objective view encompasses the “Big Picture” of the grand schemes in your story – from the outside looking in.
But what about the personal view – what things look like from the inside looking out. For that, we have to imagine that we zoom down from the hill into the shoes of one of the soldiers on the field of batter. We experience what he experiences, we feel what he feels, we see things through his eyes. This is the most personal point of view in a story, and it is that of the Main Character – the character with home the reader/audience most identifies – the one whom the passion of the story seems to be about or to revolve around.
The third point of view is from the inside looking in – much like one soldier encountering another in the midst of all the dramatic explosions. This represents the way we all look within ourselves to consider our options, other outlooks we might adopt, whether or not we should change our point of view. So this is the
view of the Main Character looking at the Obstacle Character – representing that alternative paradigm we might change to embrace.
Finally, there is the Subjective view of the argument we make with ourselves about the pros and cons of sticking to our guns or changing our minds. This is represented by the personal skirmish between the Main and Obstacle characters in the midst of the overall battle as seen by the general from the Objective view. In essence, the four points of view are equivalent to I, You, We and They – the four angles we have on ourselves and our fellow human beings. Main Character is “I” – our sense of self or identity in our own minds. Obstacle Character is “You” – perhaps the future “I” – another way for being we might become. Subjective is “We” – our examination of the relationship of our now and futures selves – the difference between who we are and who we might become. Objective is “They” – all the other aspects of ourselves that are not under pressure of possibly changing, represented by all the characters in our story other than Main and Obstacle.
Now that we have outlined the four topic categories and the four points of view, what remains is to combine them to create your story’s perspectives. In fact, all four topic categories must be explored in your story for it to feel complete. What sets one story apart from another begins by the author’s decision as to which point of view will be used to explore which topic category.
When the points of view are matched to a corresponding topic realm, four principal perspectives are created for your story. And each perspective is a different angle on the truth at the heart of your story – a different approach to discovering and solving the problem issue that creates all the difficulties in your story. This match of angle and object is called a “Domain.” So, your story will have four Domains of perspective – the Objective Domain, Subjective Domain, Main Character Domain, and Obstacle Character Domain.
Within each domain we’ll need to dig deeper and to see in greater detail in order to uncover the true heart of your story’s problems. To this end, each domain is divided into smaller and smaller parts – wheels within wheels in the mechanics of your story’s structure. For example, in “A Christmas Carol” by Charles Dickens, Scrooge is a “Mind Domain” character because he is driven by a fixed attitude of selfishness. The ghosts are “Universe Domain” character because they are stuck in a fixed situation – their own ethereal condition that cannot directly effect the world of men.
One magnitude of detail deeper in the Dramatica chart we find that the overall Class of Universe is sub-divided into four smaller aspects: Past, Present, Future, and Progress. And how appropriate (or predictive) that the ghosts of “A Christmas Carol” are Past, Present, and Future. And what about “Progress”? Why it is the ghost of Marley who argues to Scrooge that he forges his chain link by link, extending it day by day with every selfish act. His message is one of
Progress which is why it makes the collective argument of all four ghosts feel complete.
In conclusion, one must establish perspective in order to create meaning and therefore message. The Dramatica chart provides a map of topic categories to which we can apply the four essential points of view and thereby full develop our story perspectives.
1) Will the Dramatica Unplugged video program work for Dramatica Story Expert, as well as for Dramatica Pro – or is there another course I should pursue for DSE?
Dramatica unplugged works fine for any version of Dramatica, as it deals with the dramatic concepts of the theory, not with the software.
2) What’s really the difference between DSE and Dramatica Pro?
The big difference in Story Expert (aside from being updated in look, feel, and operation) are the “gists.” These are subject matter versions of the story points. For example, rather than reading as “obtaining” a goal might read as “stealing the crown jewels.” There are thousands of gists for you to use as story ideas, and you can create your own as well. Plus, you can even access them in the “Spin the model” feature which picks an arbitrary storyform structure, then populates it with randomly chosen subject matter to help you come up with story ideas!
3) Is there anything else I should have to get me ready to use DSE?
There’s nothing you need to do to get ready to use DSE. The main thing is getting used to the new main screen, as we’ve done away with the old button-style desktop and instead open directly to a panel that focuses on the four throughlines. The menus have changed too – easier for new people, but for users of Dpro it may take a while to figure out how to get to all the old favorite features.
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
We’ve been focusing on structure for a while now, so let’s take a quick breather and consider storytelling for a moment.
You probably know someone who can take a bad joke and tell it so well that you are rolling on the floor. And you probably know someone who can’t tell a joke to save their life, even if the joke itself is hilarious.
If you start with a joke that just isn’t funny, even the best delivery in the world won’t improve the humor of the punch line, but getting there may have been a hoot. Conversely, if the joke is outstanding, a terrible delivery will rob the experience of its levity even though you still see what was supposed to be funny. Stories work the same way. Even a perfect structure will lay there dead if poorly told. But a good storyteller will keep a reader/audience riveted, even if they clearly see how flawed the structure really is.
Point being, structure is not the Story God. It is a means to an end. It is far better to break structure and go with your Muse than to shackle yourself to the nuts and bolts of story mechanics at the expense of inspired storytelling.
Naturally, the best stories are those that have sound structure and passionate storytelling. But if you find the two diverge, it is always better to err to the side of passion.
Remember the cardinal rule of storytelling – Never bore your audience.
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
Imagine our Main Character soldier making his way across the field of battle. Suddenly, through the smoke of dramatic explosions he spies a murky figure standing right in his path. In this fog of war, the Main Character cannot tell if this other soldier is a friend or foe. Either way, he is blocking the road.
As the Main Character approaches, this other soldier starts waving his arms and shouts, “Change course – get off this road!” Convinced he is on the best path, the Main Character yells back, “Get out of my way!” Again the figure shouts, “Change course!” Again the Main Character replies, “Let me pass!”
The Main Character has no way of knowing if his opposite is a comrade trying to prevent him from walking into a mine field or an enemy combatant trying to lure
him into an ambush. And so, he continues on, following the plan that still seems best to him.
Eventually, the two soldiers meet, and when they do it becomes a moment of truth in which one will win out. Either the Main Character will alter course or his steadfastness will cause the other soldier to step aside.
This other soldier is called the Obstacle (and sometimes Influence or Impact) character. He represents that “devil’s advocate” voice we all have in ourselves that makes us consider changing our ways.
In our own minds we are often confronted by issues that question our approach, attitude, or the value of our hard-gained experience. But we don’t simply adopt a new point of view when our old methods have served us so well for so long. Rather, we consider how things might go if we adopted this new system of thinking.
We look at it, examine it from all sides and ask ourselves, how would my life, my self-image, my identity be if I were to become that kind of person by giving up my old views in favor of this new, unproven one that is only potentially better?
It is a long hard thing within us to reach a point of change, and so too is it a difficult feat in a Story Mind. In fact, it take the whole story to reach a climax in which all the research has been done that can be done. And even then, both sides of the argument are so well balanced that the Main Character cannot see a definite edge to either.
This crucial moment leads to those weighty decisions where Main Characters step off the cliff into the darkness, hoping they’ve made the right choice – the classic “Leap of Faith.”
Of course, not all decisions are that cataclysmic. And as we shall see, there are many other ways the differences between Main Character and Obstacle Character points of view can resolve. But for now, it suffices to acknowledge that a Story Mind that did not include and Objective view, a Main Character view, and an Obstacle Character view could not possibly feel like our own minds in real life as we seek to make the best choices based on our best information.
Many novice authors fashion only the first two points of view, believing that a general epic story and a personal view through the eyes of one of the characters is enough. More experienced authors recognize the need to show an alternative approach to that of the Main Character, and include the Obstacle Character as well. But a surprisingly small percentage of authors ever realize that a fourth perspective is necessary or a story will feel incomplete.
What is that final view point? It is the personal argument between the Main Character and the Obstacle Character as they approach each other: their own private skirmish right in the midst of the overall battle.
Movies like “The Nightmare Before Christmas” have an overall Objective story, a Main Character with a problem, and an Obstacle Character who has a different point of view about the propriety or validity of the Main Character’s approach or attitude. But even with all that, it is lacking one crucial thing – the interaction between Main and Obstacle as the duke it out philosophically.
In “Nightmare,” Jack Skellington believes he can be something beyond his nature and resolves to try. His girlfriend states that he should be happy with who he actually is, and not to try and be something that really isn’t him.
Jack will have none of it, and sets plans in motion that cause all the problems of the story. In the end, he realizes she was right and resolves from now on to be the best of what he truly is.
But the problem is that they never discussed these differing philosophies. They simply stated their opposite beliefs and in the end, Jack changes course and she remains on the road where she started.
Though there is a message, without the give and take between the Main and Obstacle, we the audience are given no information on how to achieve that change of heart within ourselves. So the message is simply acknowledged as being noble, but it isn’t personalized or taken to heart.
This fourth point of view is called the Subjective Story. It is the perspective of the battle over philosophies that explores the value of each belief system fully and completely, testing one against the other, pitting them against each other in all contexts. Only if this is seen in the Story Mind does the audience become convinced that the message is of real value to them.
So, these four throughlines – Objective, Main, Obstacle, and Subjective are all required for a story structure to feel complete. They likely seem pretty strange and unfamiliar in contrast to your usual way of approaching stories.
Fortunately, there is a much simpler way to think about these throughlines. The Main Character represents the “first person” perspective: “I”. He looks at the Obstacle Character’s philosophy and sees that character as “You.” He considers the personal skirmish between himself and the Obstacle character as defining “We,” and the view from the hill of the whole durn thing looks at “They.”
I, You, We, and They – the simpler, more familiar equivalents of Main Character, Obstacle Character, Subjective Story, and Objective Story. They are the four points of view we have in real life, and they must be represented in stories if they are to successfully press home their messages to the audiences.
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
The structure of a story, then, is the psychology of a single mind made tangible. For the story to be sound and ring true, the psychology must be complete and valid.
But to make a complete argument, it is not enough to simply reproduce the Story Mind structure. We must go beyond that and move into a larger realm that involves the audience.
In a nutshell, the audience will not be satisfied until they see the Story Mind presented to them from four different points of view – the Objective Story, the Main Character, the Obstacle (or Influence) character, and the Subjective Story. Simply put, imagine the goings on in a story as a battle. We can watch that battle from up on a hill overlooking the field, as a General might. This is what we call the Objective view of the story, since it is seeing the story from the outside in. Though from this perspective we care about what happens, it is not as if it is happening to us. Rather, we are simply watching it happen to others. Because we see the big picture, we can tell if a soldier is headed into an ambush, or how he might best achieve his goals. We can evaluate decisions made on the field as being good or bad in the grand scheme of things.
The Objective view is the same perspective we have in real life when we see others trying to deal with their problems. It is easy for us to think we see the best course, not being involved ourselves, and we often offer advice and comments like, “Why don’t you just…” or “How could you possibly have….”
Of course, this ignores how that person might feel, and dismisses any attachments or emotional needs they may have. Because we have no vested interest in the outcome, we can consider the situation dispassionately. After all, we don’t have to wake up in the morning having to deal with the consequences of their actions.
But if we zoom down onto the field and stand in the boots of one of the soldiers, we get a completely different point of view – the Main Character perspective. From here we experience the most passionate appreciation of the battle, rocked by the concussion of dramatic explosions all around us, stumbling across the field without that objective overview, just trying to do our job and survive the clash.
The Main Character view represents our own sense of self – the Story Mind’s self awareness. It is the view from the inside looking out. Though we can clearly see the situation surrounding others, that is a perspective we cannot get of ourselves. Rather, we must try to deduce the “big picture” based on the little personal glimpses of it we get while we grapple with our problems.
For an audience to feel that all the angles of the story’s problems have been explored, both of these real life points of view must be included in the structure. And yet, even they are not sufficient: there are two more perspectives required as well.
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
So what, exactly, is the Story Mind made of? Dramatica says that “Every complete story is an analogy to a single mind trying to deal with an inequity.” Now that’s very scientific, but what does it really mean? It means that characters, theme, plot and genre are not just people with value standards doing things in an overall setting – rather, character, theme, plot and genre are different families of thought that go on in our own minds, mad tangible, incarnate as character, thematic arguments and plot points.
So a story is as if an author took the mechanism of our minds, made it tangible and put it out there for us to look at so we could examine the problem solving process. Rather than having to be involved in it subjectively, we are told by the author that he or she has the benefit of insight or experience, and that even though it may feel one way to us on the inside, there is a more objective understanding of how we should proceed.
In fact, the Main Character represents the reader/audience position in the story. It represents our own position in our own heads. We know who we are at any given time. In regard to any given issue, we know where we stand.
In essence then, the Story Mind concepts says, “Think of a story as if it were a person.” There’s only one Main Character in a story because there’s only one “I” in our own minds. Further, we all have the same emotion and logical considerations, and each of these must appear as characters in a story for it to feel complete as well. If any parts are missing, the story’s argument will feel incomplete.
Dramatica also says that this Story Mind system came into being as a natural by- product of the process of communication. If you want to state that the approach you are promoting in your story is either the best or worst of all that might be tried, that you have to actually show all the other approaches that might reasonably be taken and illustrate why they aren’t as powerful as yours.
When you create a story argument that has no holes, then you have included all the ways a human mind might consider to solve a problem. In effect, you have created a model of the mind’s problem solving process – a Story Mind.
No one set out to build this model directly. But through centuries of trial and error in storytelling, conventions were developed that worked because they built an analogy to the psychology of the mind.
With this in mind, every once in a while, stand back from your story and think of it as a single person. It is so easy for an author to get so lost in the details of making all the parts work that he or she loses sight of the big picture – the overall impact of the story as a whole.
By taking time to examine whether your story has a sound psychology that makes it feel like a functional person and that the personality of the story itself is both human and interesting as well, you’ll create a consistency that can’t be achieved simply by looking at the structural elements through a microscope.
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
What happens if you mess up and just alter part of a structure without considering the structure-wide impact that change may have? Here’s an example….
Consider the Bill Murray film, “Scrooged:” (a remake of Dickens’ “A Christmas Carol”) as opposed to “Scrooge” (the 1951 version of the story starring Alistair Simm).
In the Simm version, Scrooge goes about business in the usual English fashion, but lacks generosity. That is illustrated by his refusal to donate to charity, his lack of consideration for Bob Cratchett’s family’s plight, and statements about the poor such as, “If they would rather die, then they should do so and decrease the surplus population.”
Though some of this continues to exist in the Murray vehicle, the writers clearly wanted to me his character even more of a villain. So, they spent far more time focusing on how mean Murray’s character is, rather than staying centered on his lack of generosity.
In the Simm movie, Scrooge, the ghost bombard him with visions of those he hurt because he might have helped yet did not. Even in the first act, Marley’s ghost laments that he and his ilk are doomed to wander the earth, witnessing those who need help but being unable to intercede.
In the Murray picture, the ghosts make more or less the same argument – there are those who are suffering because you will not help. Yet, that isn’t his problem in this version. His problem is that he is mean-spirited.
In the Simm story (as in Dickens’ original), the Ghost of Christmas Present confronts him with two waifs named Ignorance (lack of education) and Want (lack of what is needed). This drives how the point that it is a lack of action from which Scrooge suffers.
The same arguments are made to Bill Murray’s character. But when he finally changes, it seems a bit hollow. It feels somewhat unmotivated and trite.
Don’t get me wrong, I love the film. But wouldn’t it have been far more satisfying at an emotional level if the argument had matched the problem that needed to be resolved.
If the writers of “Scrooged” had wanted to update the story by making the lead character more proactively villainous, then they should have changed the arguments made by the ghosts as well. Instead of showing Ignorance and Want, they might have shown Defeat and Suffering. These would be the children of the Murray-Scrooge character’s actions – victims of his mean-spiritedness, and a truth with which he could not quibble.
As you can see, structure and storytelling are intimately acquainted, yet are two different creatures. Storytelling can be altered at (as George W. Bush said) “The whim of a hat.” But structure cannot be made mincemeat, willy nilly. No sir! Structure must remain balanced, in symmetry, and if one aspect is changed, then care must be given to ensure that all other affected parts of the structure (directly or indirectly) must be appropriately adjusted as well.
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
By now, you’re likely pretty familiar with the concept that every story has a mind of its own – a psychology (the structure) and a personality (the storytelling). But, if you are like many authors, knowing that and being able to identify the difference in a finished story may be something of a problem.
Until you can almost intuitively see the difference between story structure and storytelling in a completed story, you stand little chance of being able to employ that knowledge in creating your own stories.
So, in the seminar I teach on Dramatica Theory, our interns came up with a video we show in class that illustrates the point quite clearly. The short segment compares two films that have almost identical structure – “Cyrano de Bergerac” (Jose Ferrer, 1950) and an updated remake of the story, “Roxanne” (Steve Martin, 1990).
In Roxanne, the names have been slightly altered (Chris for Christian and Charley for Cyrano), the wardrobe is contemporary, the setting is in a modern city and the language is plain old American English.
Still, for all these differences, the underlying structure remains the same – the Cyrano character is in love with a girl, believes he is undesirable so does not approach her, but when he learns of another’s love for her he helps the fellow by writing flowery love sonnets to express his own love, thereby satisfying partially his need to share his soul with her. Ultimately, the ruse is discovered, the other suitor rejected, and the girl realizes that Cyrano (Charley) is the one she truly loves.
There is, however, one major structural difference between the two. In the original Cyrano, it is the title character’s suggestion that he write the letters for Christian in order to impress the girl. In Roxanne, it is Chris’ suggestion that Charley (the Cyrano character) write the letters.
As a result, the person who is responsible for all the troubles that follow has changed. Therefore, in the original movie Cyrano does not get the girl and in fact is mortally wounded. But in Roxanne, since it was not he idea to perpetrate the deception, Charley does get the girl and lives to enjoy her love.
When you make a change in one part of a structure, it will almost certainly require changing at least one other aspect of the structure to keep things in balance. The writers of Roxanne intuitively knew this, though they were likely
simply trying to create a film with a happy ending, and yet, they didn’t just change that part. They went right back to the beginning and gave the onus of hatching the plan to Chris rather than Charley.
Writerly instincts or intentional structural design, I do not know. But, in your stories, the more you are able to perceive what will have a structural impact and what is simply a storytelling choice, the more you will be able to ensure that your stories’ structures are sound.
Excerpted from the Book “Dramatica Unplugged“ By Melanie Anne Phillips, Co-creator of Dramatica
Who is your audience? And for that matter, does a single story structure affect all audience members equally? Let’s find out….
In Dramatica, there are some story points that deal directly with the structure and others that pertain to the collective impact of a number of story points. Audience Reach is one of these combined dramatics. It is also called an Audience Story
Point because it is concerned with the kind of reach the story has into the audience.
Specifically, it describes whether your readers/audience will empathize or sympathize with your Main Character. Empathy is when your readers/audience identify with your Main Character. Sympathy is when they care about your main character but feel more as if they are standing right behind the character, rather than in its shoes.
When audience members empathize, they suspend their disbelief and emotionally occupy the Main Character’s position in the story. When audience members sympathize, it seems to them as if the emotional maelstrom of the story revolves around the Main Character, making him or her the Central character of the story.
Audience Reach is determined by the effects of two story points: Story Limit and Main Character Mental Sex. Limit describes the story dynamics that force the story to a conclusion. Mental Sex describes whether your Main Character thinks like a man or a woman.
Story Limit has two variations – Time Lock and Option Lock. Time Lock stories are like the motion picture “48 Hours” in which a police detective has exactly two days before he has to return to jail a convict who is the key to solving another crime. When the time is up, the story reaches its conclusion.
Option Lock stories are similar to Disney’s “Beauty and the Beast” in which a transformed prince must make someone love him before the last petal falls from an enchanted rose or he will remain a beast forever. When the last petal falls, the conclusion is reached.
Main Character Mental Sex also has two variations – Male and Female. Mental Sex does not refer to the physical gender of the Main Character but only to its mental gender. (Because none of us truly know how the opposite sex thinks, authors often can’t help but write all of their characters as thinking in their own sex, regardless of the character’s physical gender.)
Examples can be seen in the motion picture “Aliens” in which the Main Character (Ripley) was actually written for a man and changed only the character’s dialog when the role was cast with Sigourney Weaver. Alternatively, in the movie “The Hunt for Red October”, Jack Ryan is a female mental sex Main Character as he solves problems intuitively and emotionally, rather than by observation and logic. As one might expect, male and female readers/audience members empathize or sympathize with a Main Character for different reasons.
For men, they will empathize with Male Mental Sex Main Characters and sympathize with Female Mental Sex Main Characters, regardless of which limit is
invoked – time lock or option lock. Conversely, women will empathize in an option lock but only sympathize in a time lock, regardless of what mental sex the Main Character possesses.
Why the difference? Well, the reasons are in the physiology of the brain, and too deep to go into here. If you are really interested, you’ll find a complete description of what causes the mental differences between mean and women later in this program in a lesson devoted specifically to mental sex.
Still, for a quick visual, imagine a plain old clock face. Imagine that men’s minds sit at noon, and women at 9 o’clock. Thinking clockwise, men see women as being three quarters of an hour away. Women see men as only being one quarter of an hour away. This serves to illustrate that the sexes really aren’t opposite, but are more accurately sideways to each other.
When men and women converse, they are often speaking apples and oranges and are not really in conflict or disagreement. They simply don’t have a means of seeing things the way the other sex does. So, it is not surprising that men’s empathies might be drawn to those who think like them (also at noon on the clock) while women (seeing men as just one quarter hour away) would be more affected by the situation in which the main character finds itself. For women, and option lock is more like the way they think – trying to balance all the elements at once, just as in their own lives. But time locks (to women) are just deadlines and seem imposed from the outside rather than open to some degree of control.
Okay, let’s put that behind and see what we can do with this information.
If you want to create a story in which both men and women empathize with the Main Character, then you will want to limit your story with an option lock but employ a Male Mental Sex Main Character. On the other hand, if you want to explore a despicable Main Character, you may not want to disturb your readers/audience by making them empathize with such a cad. In such a case, you can ensure your readers/audience will only sympathize by writing a Female Mental Sex Main Character in a time lock story. The danger is that since nobody empathizes, nobody really gets into the story and it doesn’t sell very well.
Naturally, the other two combinations can also exist – Men Empathize (Male Mental Sex) and women Sympathize (Time Lock) or Women Empathize (Option Lock) and men only sympathize (Female Mental Sex).
You can predict whether a book or movie will attract more men or women, just by seeing who empathizes. Hollywood tends to favor Male Mental Sex / Option Lock stories most often. This has the entire audience empathizing, and therefore (since far more mixed mental sex couples go to movies that single individuals or same mental sex couples) it ensures the largest percentage of the audience is personally involved in the movie, thereby increasing its box office (all artistic merit aside).
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