| |
Dramatica
Dictionary
A
Ability --
Most terms in Dramatica are unique, however,
four items have two uses, serving both as Variation and Element. This
is a result of the fundamental importance of the concepts represented
by these four items: Thought, Knowledge, Ability, and Desire.
[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, capacity,
faculty
[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. Although all characters
will have abilities of one sort or another, only the character containing
the Ability characteristic will seem to have them all. This does not
mean he have developed any of his Abilities, but just that he has the
capacity to do so. The positive side is that the character containing
the Ability Characteristic can develop any skill he may need. The negative
side is that just because something can be done does not mean it should
be done. In other words, sometimes Ability is more a curse than a blessing
because it can motivate a character to exercise capacities that may
be negative -- syn. innate capacity, capability, talent for,
inherent proficiency
Acceptance -- [Element]
-- dyn.pr. Non-acceptance<-->Acceptance -- a decision
not to oppose -- When a character represents Acceptance, it simply adapts
to whatever comes its way without opposition. Of course, this can eliminate
many potential conflicts by refusing to stand against inequity. On the
other hand, 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 all the time. When an understanding
has uses within limitations or is mostly or often true, it can still provide
a useful way of looking at the broad issues. The more accurate an understanding,
the more specifically one can apply it with certainty. The character possessing
the Accurate characteristic will accept rough approximations and will
make judgments and perform activities 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. If the character containing Accurate is not careful it
may assume that an understanding applies to every instance all the time
-- 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 e other. Typically, one defines 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 (independent of the
nature of the Main Character), if Actions precipitate the progression
of the plot, it is an Action story. The question to ask in regards to
any particular story is which comes first to move the story along?not
which is there more of. 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. If it were not for unforced Actions taking place in
an Action story, the story would dwindle until another Action occurred.
Activity (a.k.a.
Physics) -- [Class] -- dyn.pr. Manipulation<-->Activity
-- an external activity -- The Activity Class is one of action. Whereas
the Situation Class describes a fixed situation, Activity is a Class of
dynamics. Situations evolve, develop, and change. Activities are engaged
in and endeavors undertaken. -- syn. an activity, an enterprise,
an initiative, an endeavor, an operation
Actual Dilemma
-- [Overview Appreciation] -- The Main Character's decision
to change results in success -- In an Actual Dilemma, the Main Character
cannot succeed if he keeps to the path he began on. Unless he changes,
he is doomed to failure. 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 clear which way he's gone
by the end of the story. In stories where the Main Character Changes and,
succeeds as a result, he is said to have been in an Actual Dilemma.
Actual Work --
[Overview Appreciation] -- The Main Character's decision to
remain steadfast results in success -- A Work story is one in which remaining
steadfast is the path to success. When the Main Character's appraisal
matches the reality of the situation, his assessment of the Work required
is said to be Actual.
Actuality -- [Element]
-- dyn.pr. Perception<-->Actuality -- an 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 s 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 -- Apparent Dilemma describes a story where
the Main Character mistakenly believes he is on the wrong path. An Actual
Dilemma story, by contrast, is one in which the Main Character's original
path cannot lead to success. If the Main Character Changes when only Remaining
Steadfast would have led to success, he is said to have been in an Apparent
Dilemma.
Apparent Work --
[Overview Appreciation] -- The Main Character's decision to
remain steadfast results in failure -- Apparent Work describes a story
where the Main Character mistakenly believes he is on the proper path.
An Actual Work story is one in which Remaining Steadfast is the path to
success. If the Main Character maintains his course when indeed he needs
to Change, he is said to have been in an Apparent Work story.
Appraisal -- [Variation]
-- dyn.pr. Reappraisal<-->Appraisal -- an initial understanding
-- When determining which parts of evidence he should investigate and
which parts he doubts and therefore chooses to ignore, a character makes
an initial Appraisal of where the evidence seems to be leading. Although
there is not enough evidence to really draw a conclusion, there is enough
to indicate the direction evidence seems to be leading. That which is
not in line is doubted, and the more out of line, the more doubt. That
which is in line is investigated. Of course, since this Appraisal is based
on insufficient evidence, the big picture can change dramatically over
the course of investigation. Yet, like everyday people, a character is
strongly influenced by first impressions and can become attached to an
Appraisal and fail to see that the direction of evidence has changed --
syn. first impresn, preliminary understanding, initial approach,
initial assimilation.
Appreciations
-- Commonly shared dramatic concepts -- Appreciations are items of dramatic
meaning that are common to all stories. When a person attempts to deal
with troubles, certain considerations and perspectives are commonly adopted;
"goals," for example, "requirements," and "consequences."
Stories, which represent analogies to this problem solving process, also
incorporate these aspects. In Dramatica, these shared considerations are
referred to as "appreciations."
Approach -- [Character
Dynamic] -- The Main Character's preferred method of general problem
solving -- By temperament, Main Characters (like each of us) have a preferential
method of approaching problems. Some would rather adapt their environment
to themselves, others would rather adapt themselves to their environment.
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 -- one's methodology
of doing or being -- Approach is the manner in which a character chooses
to seek the solution to a problem. This might be a specific method or
just a general set of tools or guidelines that is deemed appropriate for
the job. These tools can be physical or mental ones, depending upon the
nature of the problem and the determined solution -- syn. method,
procedure, style, manner, manner of doing, one's own way.
Archetypal Characters
-- The eight simple Overall Characters that can be employed in a story's
thematic arguments -- Of all the ways the 64 Overall Character elements
of Dramatica might be grouped, there is one arrangement that is akin to
an alignment of the planets. When all elements from one "family"
of like elements are placed in each character, 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. However, because they are so predictable, 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
has lost sight of the purpose of the task or underestimated his progress
and has actually done 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 -- one's demeanor while
doing or being -- 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 Overall (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 Overall (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 rather than solving it -- 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
|
