| |
Dramatica
Dictionary
C
Catalyst --
[Variation] -- The item whose presence always pushes the story forward
toward the climax -- The Catalyst is what creates breakthroughs and seems
to erate the throughline it is affecting. In both the Overall and Main
vs. Impact 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 -- a conclusion
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 Main vs. Impact 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 Impact 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 Impact 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 as 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
Changing One's
Nature (a.k.a. Becoming) -- [Type] -- dyn.pr. Playing
A Role<-->Changing One's Nature -- transforming one's nature --
Changing One's Nature means achieving an identity with something. This
is different from "playing a role" which merely requires posing
as something. To change one's nature, 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 changing one's nature and the reason so many characters
spend a lot of time "playing a role" without ever changing their
nature -- syn. embodying, manifesting, personifying, incarnating,
transforming
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 -- [Storytelling]
-- 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 Main vs. Impact Characters and the Overall Characters. In the most
frequently told kinds of stories, Main vs. Impact Characters are the smaller
group, consisting of only the Main Character and the Impact Character.
Both of these are concerned with providing the audience with a Main vs.
Impact view of the story. There can be, and frequently are, many more
Overall than Main vs. Impact Characters. An Overall 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
Overall (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. The Overall Characters present the story
to the audience and the Main vs. Impact Characters allow the audience
to participate in the story. Because of this, Main vs. Impact Characters
are unique in that they do double duty by having a special relationship
with the audience and pulling their weight as Overall Characters as well.
This is because they are concerned both with the Main Character's personal
problem and also the Overall Story problem.
Character Dynamics
-- [Dramatica Definition] -- Dramatic potentials which determine
a Main Character's Resolve, Growth, Approach, and Problem Solving Style.
-- 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 Problem Solving
Style determines if the Main Character uses Logical (Male Mental Sex)
or Intuitive (Female Mental Sex) problem solving techniques.
Charge -- [Dynamic
Term] -- Since there are two of each kind of pair in a quad (Dynamic,
Dependent and Companion), it is useful to have a way of identifying each
one by its position in the quad. Dramatica uses the concept of a dramatic
CHARGE to accomplish this. As with electrical charges, positive or negative
does not mean one is good and the other bad but simply that they have
opposite attributes. So in a quad the Dynamic (diagonal) pair that is
negatively charged simply means that it runs from the upper right item
in the quad to the lower left unit of the quad. The other Dynamic pair
is referred to as positively charged. The top Companion (horizontal) pair
is positive; the bottom Companion pair is negative. The left Dependent
(vertical) pair is positive; the right Dependent pair is negative. By
using the CHARGE method, any pair in any quad can be directly and specifically
referred to.
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
-- the relationship of oneself to the 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. Situation (Universe) and Activities (Physics)
represent external states and processes respectively, and Fixed Attitudes
(Mind) and Manipulation (Psychology) represent internal states and processes
respectively. Though Classes have the same names as Throughlines, they
represent only a structural ordering of semantic terms and are not the
same as Throughlines which are more dynamic story points created by matching
a Class with one of the four throughlines.
Closure -- [Variation]
-- dyn.pr. Denial<-->Closure -- bringing something to
an end -- 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
Co-Dynamic Pair
-- [Structural Term] -- When one of the two dynamic pairs in
a quad is selected as the "Reference Pair," the remaining dynamic
pair is referred to as its CO-DYNAMIC PAIR.
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 ey
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 (a.k.a.
Conceiving An Idea) -- [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
Conceiving An Idea
(a.k.a. Conceiving) -- [Type] -- dyn.pr. Developing
A Plan<-->Conceiving An Idea -- coming up with an idea --
Conceiving An Idea 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 developing
a plan for a specific implementation of the idea one has conceived. Conceiving
An Idea need not come before developing a plan. 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 An Idea defines the question, Developing a Plan clarifies the
answer -- syn. originating, inventing, devising, engendering,
hatch ideas
Conceptualizing
(a.k.a. Developing A Plan) -- [Type] -- dyn.pr.
Conceiving<-->Conceptualizing -- visualizing how an 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 -- [Type]
-- The principal area of concern in a throughline -- The category
or nature of that for which the characters in a given throughline are
most anxious, eager, or which they hope to protect or affect.
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 an expectation -- 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
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 (a.k.a.
Contemplation) -- [Type] -- dyn.pr. Memory<-->Conscious
-- 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 --
[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
protagonist hopes to achieve.
Consider -- [Element]
-- dyn.pr. Reconsider<-->Consider -- weighing 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 Archetype representing the motivations
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
Contemplation (a.k.a.
Conscious) -- [Type] -- dyn.pr. Memories<-->Contemplation
-- 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 Contemplation. 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
Control -- [Element]
-- dyn.pr. Uncontrolled<-->Control -- a method based
on organization and constraint -- 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 -- [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."
Counterpoint -- [Dramatica
Term] -- For every Issue (thematic point) there is a Counterpoint. The counterpoint exists to contrast and be compared to the thematic point, such as Morality as the counterpoint to Self Interest. Whether you choose to compare them as binary opposites or as two ends of a spectrum, the thematic point and counterpoint are the basis for a thematic conflict. Structurally speaking, the counterpoint is the dynamic pair of the Issue (thematic point).
Critical Flaw --
[Variation] -- The Main vs. Impact Character trait that inhibits
or undermines the effectiveness of that Main vs. Impact 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 unprotected 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 Impact 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 Impact Character's
different purposes.
Crucial Element
-- [Element] -- The single dramatic element that links the
Overall and Main vs. Impact stories together. The Main Character's decision
regarding the Crucial Element ultimately leads to an Outcome of Success
or Failure and a Judgment of Good or Bad.
Current -- [Dynamic
Term] -- The flow of a process -- One way to measure the relationship
of items in a quad is to classify them as Potential, Resistance, Current,
and Outcome (or Power). In this manner, we can see how dramatic components
operate on each other over the course of the story. Current simply means
the flow of a process. When a dramatic current exists it does not necessarily
create change. Rather, until it is directed to a specific purpose as Power,
the current will have no impact at all. So in a quad, assigning one of
the items as the current does not mean it will alter the course of the
story. Instead, it might function to encourage purpose by providing a
ready motivation. This is a useful tool for Authors since it allows for
the subtle relationship of unused, inferred, threatened, or anticipated
dramatic interactions that shape the fabric of a story in ways other than
conflict.
|
