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Dramatica
Dictionary
N
Nature -- [Overview
Appreciation] -- the primary dramatic mechanism of a story -- The
nature of a story will be one of four possibilities: Actual Work Story,
Actual Dilemma Story, Apparent Work Story, or Apparent Dilemma Story.
A story can be appreciated as a structure in which the beginning, middle,
and end can all be seen at the same time. From this point of view, the
Overall and Main vs. Impact storylines can be compared. The Overall Story
Throughline determines if the solution to the problem can be found in
the environment or if the problem is actually caused by a character flaw
of the Main Character himself. The Subjective storyline determines if
the Main Character will remain steadfast in the belief the problem can
be solved in the environment or will change in the belief that he himself
is the cause of the problem. When the Main Character remains steadfast,
he spends the entire story doing work to try and solve the problem. This
is called a Work Story. If the Main Character is correct in believing
the solution to the problem lies in the environment it is an Actual Work
story. If the steadfast Main Character is wrong and is the true cause
of the problem, it is an Apparent Work story since he believes Work is
all that is necessary and that is not the case. When the Main Character
changes, he has come to believe that he is the real cause of the problem.
This is called a Dilemma Story because the Main Character spends the story
wrestling with an internal dilemma. If the Main Character is correct in
believing that he is the source of the problem, then it is an Actual Dilemma
Story. If he is incorrect and changes, even though the problem was truly
in the environment, it is an Apparent Dilemma Story. Each of these four
combinations creates a different mechanism in order to arrive at the climax
with the appropriate match up between the true location of the problem
and the Main Character's assessment of where to find the solution.
Need -- [Variation]
-- dyn.pr. Expediency<-->Need -- that which is required
-- Needs are always based upon a purpose. It is often assumed that Need
describes something absolutely required in an objective sense. But Need
is really a subjective judgment of what is lacking to fulfill a requirement.
To illustrate this, we might consider the statement, "We all need
food and water." This statement seems to make sense, but is not actually
correct. In truth, we only need food and water if we want to live. For
a paralyzed patient who wishes to be allowed to die, the last thing he
Needs is food and water. Clearly, need depends upon what one subjectively
desires. That which is required to fulfill that desire is the subjective
Need. -- syn. subjective necessity, urge, demand, imperative
Negative Feel --
[Overview Appreciation] -- the problem is closing in on the
objective characters -- Overall, stories feel like "uppers"
or "downers." This is not a description of whether or not things
turn out okay in the end, but a sense of direction created by the kind
of tension that permeates the story up to the moment of climax. When the
focus is on characters doggedly pursuing a Solution, the story feels positive.
When the focus is on characters being dogged by a relentless Problem,
the story feels negative. Another way to appreciate the difference is
to look at the Main Character. An audience can sense whether the author
feels a Main Character should or should not change. If the character is
growing toward the proper choice, the story feels positive. If he is growing
toward the improper choice, the story feels negative. Both these views
are created by the friction between the Objective view that indicates
what is truly needed to solve the problem and the Subjective view of the
Main Character as to what seems to be the solution to the problem.
Neither -- [Overview
Appreciation] -- both men and women will tend to sympathize with
the main character in this story -- 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. "Neither"
indicates that as a result of this storyform's dynamics, neither male
and female audience members will tend to empathize with the Main Character,
both will sympathize.
Non-Acceptance
-- [Element] -- dyn.pr. Acceptance<-->Non-Acceptance
-- a decision to oppose -- The character containing the Non-Acceptance
characteristic will not compromise. He stands his ground regardless of
how unimportant the issue may be. Certainly, this characteristic nips
attrition in the bud but also loses the benefits of give and take relationships.
-- syn. run counter to, reject, decline, repudiate, resist, refusal
to compromise
Non-Accurate
-- [Element] -- dyn.pr. Accurate<-->Non-Accurate
-- not within tolerances -- Non-Accurate describes a concept that is not
functional for the purpose at hand. There may be some value in the concept
in other areas, but for the intended use it is not at all correct. The
Non-Accurate characteristic will find the exceptions to the rule that
ruin an argument. This makes it nearly immune to generalizations. Unfortunately
this can also make it unable to accept any explanation or concept that
has an exception, even if the exception has no real effect on how the
concept is being applied. Anything that is not right all the time for
every use is rejected as Non-Accurate -- syn. not within tolerance,
insufficiency, inadequacy, deviancy, deficient to the purpose
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