Dramatica
Dictionary
M
Main Character
-- The Character
representing the audience's position in a story -- A story has a central
character that acts as the focus of the audience's emotional attachment
to the story. This Main Character is the conduit through whom the audience
experiences the story subjectively. The Main Character may be the Steadfast
Character who needs to hold on to his resolve or the Change Character
who alters his nature in an attempt to resolve his problems. Either way,
it is mostly through his eyes that we see the personal argument of the
story.
Main Character's
Benchmark -- [Type] -- the nature of the Main Character's effort
to solve his personal problem; the standard by which the Main Character
judges the degree of his concern -- the way of telling how much the Main
Character is dealing with the issues at stake for himself in the story
is by choosing an item in the story and using it as a measuring stick.
This can be subtle or obvious, illustrated perhaps by the number of empty
beer cans next to an alcoholic's bed, the severity of a facial tick, or
the amount of perfume a character puts on. However it is illustrated,
it needs to be there to give both the audience and the Main Character
some way of judging how deep his concern is and how far along in the story
he is.
Main Character's
Concern -- [Type] -- The Main Character's personal objective
or purpose, the area of the Main Character's concern -- The Main Character
Concern describes the kinds of things the Main Character is striving to
attain. This could be in terms of concrete or abstract things, depending
partly on the Main Character's Domain and partly on the twist the author
wants to put on that Domain.
Main Character's
Critical Flaw -- [Variation] -- the quality that undermines
The Main Character's efforts -- To balance the Main Character's extraordinary
status conveyed by his Unique Ability, he must also be shown to be especially
vulnerable in one area as well. This vulnerability is called his Critical
Flaw. The Main Character's Critical Flaw is his Achilles heel that prevents
him from being too one-sided. Just as with Unique Ability, the Critical
Flaw can be quite mundane as long as it can threaten him with failure
from an unprotectable direction. The specific Critical Flaw must be unique
to the Main Character in the story. However, the more common the Critical
Flaw is to the audience, the more it will identify with the Main Character's
predicament. In Start stories, the Critical Flaw inhibits the Main Character
from using his Unique Ability. In Stop stories, the Critical Flaw undoes
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.
Main Character
Growth (a.k.a MC Direction) -- [Character Dynamic] -- See
Growth
Main Character
Problem -- [Element] -- source of The Main Character's motivation;
the source of the Main Character's problems -- In every Main Character
there exists some inequity that is driving him. If the Main Character
Changes something in himself at the leap of faith, it is this item, his
Problem, which he changes by exchanging it for his Solution. If the Main
Character is Steadfast, though, he holds onto his problem, deepening his
resolve to keep the same motivations through the end of the story as he
had when he began the story.
Main Character's
Response -- [Element] -- The efforts of the Main Character
to solve his apparent problems -- A Main Character can never be sure if
what he believes to be the source of his problem really is the
source of his problem. Regardless, based on his apparent problems he will
determine a potential solution or Response which he hopes will work as
a solution. The dramatic unit that describes what a Main Character holds
as the path to a solution is the Main Character Response.
Main Character's
Solution -- [Element] -- what is needed to truly satisfy The
Main Character's motivation; the solution to the Main Character's problems
-- The Solution Element is the "flip side" of the Problem Element.
In a story, the focus may be on the Problem Element ("The Main Character
should not be this way") or the focus may be on the Solution Element
("The Main Character should be this way"). If the Main Character
should not be a certain way, we say it is a "Stop" story as
he must stop being a certain way. If the Main Character should be a certain
way, we say it is a "Start" story as he must start being a certain
way. So in a sense the Problem Element is not by itself the cause of the
story's problem, but works in conjunction with the Solution Element to
create an imbalance between two traits that need to be balanced. The choice
to present one as a negative trait defines it as the Problem Element and
its positive partner becomes the Solution Element.
Main Character's
Symptom -- [Element] -- where The Main Character believes the
problem to be; where the Main Character's attention is focused -- When
a Main Character is at odds with his surroundings, a problem exists between
himself and his environment. The actual nature of this gap between Main
Character and environment is described by the Problem Element. The nature
of what is required to restore balance is described by the Solution Element.
This is the Overall Story view of the problem. The Main Character, however,
is not privy to that view and must work from his personal view instead.
From his personal view, the problem does not appear to be between
the himself and the environment but wholly in one or the other. Sometimes
a Main Character is a "Do-er" type and will perceive and first
try to solve the problem in the environment. Other times a Main Character
is a "Be-er" who will first try to solve the problem by adapting
to the environment. A "Do-er" focuses the problem in the environment;
a "Be-er" focuses the problem in himself. The Symptom Element
describes the nature of how the problem appears to the Main Character
when he places it wholly in one area or the other.
Main Character's
Throughline -- [Domain] -- The general area in which The Main
Character operates -- Everything the Main Character does and represents
that primarily relates to him alone, as opposed to specific relationships
he has with other characters, can be said to be part of the Main Character
Throughline. There are four different perspectives in the structure of
any story represented by the combination of each of the four Classes with
each of the four Throughlines the Overall Story Throughline, the Main
vs. Impact Story Throughline, the Impact Character Throughline, and the
Main Character Throughline. The Main Character Throughline describes in
the broadest single term what the Main Character represents and the area
in which the Main Character operates within the story.
Main Character's
Unique ability -- [Variation] -- the quality that makes The
Main Character uniquely qualified to solve the story's problem/achieve
the goal -- Just as a requirement defines the specific nature of things
needed to achieve a particular goal, Unique Ability defines the specific
quality needed to meet the requirement. Unique Ability is another way
in which the Main Character is identified as the intersecting point between
the Main vs. Impact Throughline and the Overall Story Throughline stories
as it is only he who ultimately has what it takes to meet the test of
the requirement and thereby achieve the goal. The Unique Ability need
not be anything extraordinary but must be the one crucial quality required
that is shared by no one else. Frequently, the Unique Ability is in keeping
with the Main Character's position or profession, however it can be much
more interesting to assign an incongruous Unique Ability. In either approach,
it is essential to illustrate the existence of the Unique Ability in the
Main Character several times throughout the story, even if it is not employed
until the climax. In this way, it becomes integrated into the nature of
the Main Character and does not seem conveniently tacked on when it is
ultimately needed. Also, the Unique Ability can be extremely mundane.
The key is that the ability does not have to be unique by nature, but
just possessed uniquely in that specific story by the Main Character.
Clever storytelling may arrange the climax of the story so that some completely
ordinary and insignificant Unique Ability makes the difference in the
outcome of a cosmic struggle.
Main vs. Impact
Benchmark -- [Type] -- The standard by which growth is measured
in the Main vs. Impact Throughline -- The Main vs. Impact Throughline
Benchmark is the gauge that tells people how far along the Main vs. Impact
Throughline has progressed. It can't say how much longer the story may
go, but in regards to seeing how far away the concerns are, both the Main
and Impact Characters, as well as the audience, will look to the benchmark
in order to make any kind of judgment. This Type item describes the nature
of the measuring stick which will be used in the Main vs. Impact Throughline.
Main vs. Impact
Concern -- [Type] -- The area of concern between the Main Character
and the Impact Character -- The nature of the things which the Main and
Impact Characters want from their relationship; the Main vs. Impact Throughline
Concern describes how the audience sees the concern of the Main and Impact
character's relationship with each other.
Main vs. Impact
Catalyst -- [Variation] -- The item that acts as the catalyst
to move the Main vs. Impact Throughline forward -- The Main vs. Impact
Throughline Catalyst is what creates breakthroughs and seems to accelerate
the Main vs. Impact Throughline. In both the Overall Story and Main vs.
Impact Throughline 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.
Main vs. Impact
Domain -- [Domain] -- the general area in which the Main vs.
Impact Throughline takes place -- see Domain or Throughline.
Main vs. Impact
Inhibitor -- [Variation] -- The item that impedes the Main
vs. Impact Throughline's progress -- The Main vs. Impact Throughline Inhibitor
is what prevents the Main vs. Impact Throughline from just rushing full
speed to the solution. It is like a brake mechanism which can be applied
as the author pleases. The introduction of this item will always slow
the progress of the Main vs. Impact Throughline. It works as the antidote
to the Main vs. Impact Throughline Catalyst.
Main vs. Impact
Issue -- [Variation] -- the thematic focus between the Main
Character and the Impact Character -- The nature of the activities which
make up the relationship between the Main and Impact Characters which
is the Main vs. Impact Throughline is described by this item. The Main
vs. Impact Throughline Issue describes the way the relationship between
the Main and Impact Characters will work thematically in the Grand Argument
of the story, so at the same time it generally describes the kinds of
things that will pop up to illustrate this theme.
Main vs. Impact
Problem -- [Element] -- the underlying cause of the difficulties
between the Main Character and the Impact Character -- This is the actual
source of the inequity between the Main vs. Impact Throughline Characters
which lies at the level of their motivations. Only by applying the Main
vs. Impact Throughline Solution can the effects of this inequity finally
be dealt with.
Main vs. Impact
Response -- [Element] -- The direction of efforts in the Main
vs. Impact Throughline; the apparent remedy for the symptom of
the difficulties between the Main Character and The Impact Character --
Main vs. Impact Throughline Characters do the best they can to deal with
the Main vs. Impact Throughline Problem, but because the Main and Impact
Characters are all looking at the problem from their subjective points
of view, they can't get enough distance to actually see the problem right
away. Instead they focus on the effects of the problem, which is called
the Main vs. Impact Throughline Symptom, and choose to follow what they
feel will be a remedy, which is called the Main vs. Impact Throughline
Response.
Main vs. Impact
Solution -- [Element] -- the specific element needed to resolve
the difficulties between the Main Character and the Impact Character --
This is the item which will, if introduced, restore balance in the Main
vs. Impact Throughline and neutralize the effects of the Problem by replacing
it. It may not be actually implemented, but if it were adopted in the
relationship between the Main and Impact Characters, it would end the
source of their conflict and change their relation ship.
Main vs. Impact
Symptom -- [Element] -- the principal symptom of the difficulties
between the Main Character and the Impact Character, where attention is
focused in the Main vs. Impact Throughline -- When there is a problem
in the relationship between the Main and Impact character, they look at
it from their subjective point of view and cannot see its actual nature
because it lies on the level of their motivations. Instead they focus
their attention on what they believe to be the source of their problems
which is really an effect of the problem. This area is called the Main
vs. Impact Throughline Symptom.
Main vs. Impact
Character's Throughline -- [Domain] -- The story as it relates
to the relationship and conflict between the Main and Impact Characters
-- The passionate argument of a story is carried by the relationship between
the story's Main vs. Impact Characters namely, the Main and Impact Characters.
The examination of their internal states and the articulation of the story's
passionate argument makes up the Main vs. Impact Throughline. This is
not the view from within the shoes of either the Main or Impact Characters,
but is rather like an Overall (Objective) view of their relationship.
It is a view of their story together which always sees both of them.
Main vs. Impact
Type Order -- [Plot Structure] -- the kind of activity employed
to arrive at a solution to the story's Main vs. Impact Throughline problem,
act by act -- As the Main vs. Impact Throughline progresses act by act,
it covers the Main vs. Impact Throughline Perspective (the Perspective
created by matching the Main vs. Impact Throughline Domain with one of
the four Classes) Type by Type around the quad of Types which it contains.
These four explorations make up the four acts and describe the kinds of
things that will have to happen in order to arrive face to face with the
Main vs. Impact Throughline Problem.
Male Mental Sex
-- [Character Dynamic] -- See Logical Problem Solving Style
Male -- [Overview
Appreciation] -- men will tend to empathize with the main character
in this story; women will tend to sympathize -- Although there is much
common ground in a story that is appreciated equally by women and men,
some dramatic messages speak to one group more profoundly than the other.
One particular area of difference is the relationship of female and male
audience members to the Main Character. In some stories an audience member
will feel Empathy with the Main Character, as if he/she were standing
in the Main Character's shoes. In other stories, an audience member will
feel Sympathy for the Main Character, as if the Main Character is a close
acquaintance. The dynamics that control this for women and men are quite
different. "Male" indicates that as a result of this storyform's
dynamics, male audience members will tend to empathize with the Main Character.
Female audience members will sympathize.
Manipulation (a.k.a.
Psychology) -- [Class] -- dyn.pr. Activity<-->Manipulation
-- a manner of thinking -- The Manipulation Class is where the evolution
or change in an attitude is explored, unlike the Fixed Attitude Class
which describes the nature of a fixed state of mind. This is a more deliberation-oriented
class where the focus is not on the attitude itself, but whether it is
changing for better or for worse. -- syn. ways of thinking, thinking
process, activity of the psyche, manipulation of others
Memories (a.k.a.
Memory) -- [Type] -- dyn.pr. Contemplation<-->Memories
-- recollections -- The Past is an objective look at what has happened.
In contrast, Memories are a subjective look at what has happened. Therefore,
Memories of the same events varies among individuals creating many different
and possibly conflicting recollections. Often one's current feelings come
from memories, both pleasant and unpleasant. Many a taut story revolves
around a character's effort to resolve open issues from his memories.
-- syn. linear reasoning, rationality, structural sensibility,
syllogistics
Mental Sex -- [Character
Dynamic] -- See Problem Solving Style
Methodology --
the elements a character will implement to achieve his Purposes --
When a character is motivated toward a particular purpose, there remains
the decision of what means should be used to reach it. Not every possible
Methodology is as appropriate as every other under unique circumstances.
For example, if one wants to pound in a nail, a wrench would not work
as well as a hammer. In fact, sometimes the whole problem in a story is
created because someone is using the wrong tool for the right job. In
creating Overall Story Characters for a given story, 16 of the 64 elements
will be selected as the Methodology elements of the character set.
Mind (a.k.a
Fixed Attitude) -- [Class] -- dyn.pr. Universe<-->Mind
-- a fixed attitude -- The Mind Class describes a fixed attitude. This
can be a bias, prejudice, or even a "positive" opinion about
anything at all. The key is that the attitude is fixed, meaning it is
accepted as a given and not re-evaluated. Often the Mind Domain is represented
by a group of people who share a common bias for or against something.
-- syn. attitude, fixation, position on an issue, fixed point
of view, disposition
Morality -- [Variation]
-- dyn.pr. Self Interest<-->Morality -- doing or being
based on what is best for others -- Not to be taken as a spiritual or
religious sense of right and wrong, Morality here is intended to describe
the quality of character that puts others before self. This is not, however,
always a good thing. If a character is besieged by Self-Interested parties
that grasp and take whatever they can, Morality (in this limited sense)
is most inappropriate. Also, Morality does not always require sacrifice.
It simply means that a Moral character will consider the needs of others
before his own. If the needs are compatible, it can create a win/win scenario
where no one need suffer. -- syn. selflessness, altruism, benevolence,
generosity
Motivation -- ThAn
underlying given or inequity which drives a character -- Motivation is
the force that drives a character in a particular direction. In order
for the problem in a story to be fully explored, all motivations pertaining
to that topic must be expressed. This is accomplished by assigning characteristic
elements that represent these motivations to the various Overall (Objective)
story characters. In this way, different characters represent different
motivations and the story problem is fully explored. In creating Overall
Story Characters for a given story, 16 of the 64 elements will be selected
as the Motivation elements of that character set.
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