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Dramatica
Dictionary
E
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 Overall (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
Evaluation -- [Dramatica
Term] -- the standards by which effectiveness is gauged • The Evaluation character dimension explores the means used by characters to evaluate how well they are doing. Sometimes a problem comes from using an inappropriate yardstick when evaluating something. For example, two bosses may rate their company's sales performance by two different yardsticks. One may look at total sales, see total sales increasing, and figure things are looking up. Another may look at total profits, see profits falling, and figure things are not so good. Which boss is correct depends on the larger context provided by the story. In creating Objective Characters for a given story, 16 of the 64 elements will be selected as the Evaluation elements of the character set.
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
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