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Dramatica
Dictionary
P
Past
(The Past) -- [Type] -- dyn.pr. Present<-->Past
-- what has already happened -- The past is not unchanging. Often we learn
new things which change our understanding of what past events truly meant
and create new appreciations of how things really fit together. A Story
that focuses on the Past may be much more than a documentation of what
happened. Frequently it is a re-evaluation of the meaning of what has
occurred that can lead to changing one's understanding of what is happening
in the present or will eventually happen in the future. -- syn.
history, what has happened, former times, retrospective
Perception -- [Element]
-- dyn.pr. Actuality<-->Perception -- the way things
seem to be -- Perception is a point of view on reality. In truth, we cannot
truly get beyond perception in our understanding of our world. A character
that represents Perception is more concerned with the way things seem
than what it is. Therefore he can be caught off-guard by anything that
is not what it seems. -- syn. appearance, how things seem to be,
discernment, a particular reading of things, a point of view on reality,
a way of seeing
Permission -- [Variation]
-- dyn.pr. Deficiency<-->Permission -- one's ability
based on what is allowed -- Permission means Ability limited by restrictions.
These constraints may be self imposed or imposed by others. When a Character
considers what he can or cannot do, he is not assessing his ability but
the limitations to his ability. When one worries about the consequences
born of disapproval or self-loathing, one halts for the lack of Permission.
The frustration of a character suffering a vice-grip on his ability may
eventually erupt in an explosive reaction if the noose gets too tight.
-- syn. constrained ability, limited capability, restricted capacity,
hindered performance, allowed limitations, restrained utility
Perspective --
[Domain] [Class] -- The combination of one of the four viewpoints
with one of the four Classes -- To complete the creation of one of the
four perspectives (or Throughlines) for any particular story, a viewpoint
must be matched to a Class so that the place which the perspective is
looking from is defined and the nature of the perspective is defined.
The four viewpoints include the Overall Story, the Main vs. Impact Story,
the Main Character, and the Impact Character. Situation (Universe), Activities
(Physics), Manipulation (Psychology), and Fixed Attitudes (Mind) are the
four Classes which represent the four broadest classifications of story
issues. In every complete story, each viewpoints is assigned one Class,
creating four Perspectives. Only by fully exploring all four Perspectives
can a Grand Argument Story be fully developed.
Physics (a.k.a.
Activity) -- [Class] -- dyn.pr. Psychology<-->Physics
-- an activity -- The Physics Class is one of action. Whereas the Universe
Class describes a fixed situation, Physics 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
Playing a Role
(a.k.a. Being) -- [Type] -- dyn.pr. Changing
One's Nature<-->Playing a Role -- temporarily adopting a lifestyle
-- For purposes of story, Playing a Role is meant to describe the condition
of existing in a certain manner. This does not mean that whomever or whatever
is being a particular way is truly of that nature to the core. In fact,
it may be put on, as an act or to deceive. However, as long as there is
nothing more or less to the functioning of person or thing, it can be
said to "be" what it appears to be. Stories often focus on someone
who wants to "Play a Role" without actually "becoming"
it. The important difference is that to "Play a Role" requires
that all the elements of what one wants to be are present in oneself.
To "change one's nature" requires that there are no elements
in oneself that are not in that which one wants to become -- syn.
pretending, appearing, acting like, seeming as, fulfilling a role
Plot Dynamics ·Dramatic
potentials which determine the plot's Driver, Limit, Outcome, and Judgment
-- When trying to describe a plot, many authors simply relate the order
in which events occur. In fact, the order in which the events are presented
to an audience and the order in which they actually occurred for the characters
in the story are often quite different. Dramatica defines plot as the
internal logic or sequence of events in a story. The order in which events
are presented is referred to as Storyweaving. Putting Storyweaving aside,
the actual order of events is greatly influenced by four principal forces.
These Plot Dynamics determine something about what is pushing the plot
forward (Driver), how far it can go (Limit), where it ends up (Outcome)
and what it all meant (Judgment). By making choices about the kind of
Driver (Action or Decision), the kind of Limit (Timelock or Optionlock),
the kind of Outcome (Success or Failure), and the kind of Judgment (Good
or Bad), and author can shape the course of a plot and the events that
will occur within it.
Positive Feel --
[Overview Appreciation] -- the objective characters in the
story are closing in on the problem -- An author can pass judgment on
the appropriateness of a Main Character's approach to the problem. When
a Main Character's approach is deemed proper, the audience hopes for him
to remain steadfast in that approach and to succeed. Regardless of whether
he actually succeeds or fails, if he remains steadfast he wins a moral
victory and the audience feels the story is positive. When the approach
is deemed improper, the audience hopes for him to change. Whether or not
the Main Character succeeds, if he changes from an improper approach to
a proper one he also win a moral victory and the story feels Positive.
Positive versus
Negative -- Positive and Negative are not evaluations of the ultimate
outcome of a story, but evaluations of how the story feels during its
course toward the outcome. Does the story feel like it is drawing closer
to a satisfying and fulfilling conclusion or farther away from an unsatisfying,
unfulfilling conclusion? Then it is positive. Does the story feel like
it is drawing closer to an unsatisfying and unfulfilling conclusion or
farther away from a satisfying, fulfilling conclusion? Then it is negative.
Any given story will have either a positive or negative feel to it. This
is caused by a combination of two kinds of dynamics, one of which describes
the Main Character, the other describes the Author. Every Main Character's
personal problem is either caused because he is doing something he needs
to stop or because he is not doing something he ought to be. In other
words, his problem exists because he needs to remove or add a trait. In
a sense, the Main Character must either move toward something new or move
away from something old. That alone does not give a positive or negative
feel to a story, as what he is moving toward or away from could be good
or bad. Every Author has feelings about which traits are good ones to
have and which are bad. Just because a Main Character successfully solves
his problem by removing or adding a trait does not mean he has become
a better person for it. The Author's message may be that failure in problem-solving
is preferable to diminishing one's overall character. So the Author's
identity is exposed to the audience by passing a value judgment on whether
removing or adding a trait (Start or Stop) was good or bad. Taken together,
Start and Stop, and a value judgment on what the Main Character is growing
in relation to of good or bad create four combinations. Two of these are
positive and two of them are negative. Start and good means the Main Character
is moving toward something good and that feels positive. Stop and bad
means the Main Character is moving away from something bad and that also
feels positive. Start and bad means the Main Character is moving toward
something bad and that feels negative. And Stop and good means the Main
Character is moving away from something good and that feels negative as
well.
Possibility --
[Element] -- dyn.pr. Probability<-->Possibility
-- a determination that something might be true -- The Possibility element
endows a character with an open-minded assessment of his environment and
relationships. However, it gives less weight to the single most likely
explanation, looking instead at the whole range of known alternatives.
Since the most likely scenario does not always happen, the Possibility
element aids in having "Plan B" ready. On the downside, this
characteristic may "over think" things and lose track of what
is most probable. -- syn. plausibility, viability, conceivable
eventualities, open assessment
Potential -- [Dynamic
Term] -- 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. Potential simply means a latent tendency
toward some attitude or action. Though a dramatic Potential may exist,
it is not necessarily applied. Rather, until a Resistance interacts with
a Potential, the Potential has nothing to act against and will remain
latent. So in a quad, assigning one of the items as the Potential does
not mean it will become active in the story. Instead, it might function
to deter the Resistance item from a certain course rather than risk conflict
with Potential. 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.
Potentiality --
[Element] -- dyn.pr. Certainty<-->Potentiality
-- a determination that something has the capacity to become true -- The
element of Potentiality drives a character to take risks on long odds.
Always looking at what is not specifically ruled out, he is even beyond
the realm of possibility and spends his time focusing on the greatest
possible potential. As long as there is no reason why something should
not be a certain way, the character representing Potentiality acts as
if it is. Of course this leads him to see benefits and dangers others
might miss, but it also leads him to starve on "pie in the sky."
This characteristic always looks at what might be, never stopping to take
stock of what is. -- syn. chance, precariousness, focusing on
the uncertain, going with the improbable
Power (Outcome)
-- [Dynamic Term] -- One way to measure the relationship of
items in a quad is to classify him as Potential, Resistance, Current,
and Power (or Outcome). In this manner, we can see how dramatic components
operate on each other over the course of the story. Power simply means
the effect of a process. When a dramatic Power exists it does not necessarily
create change. Rather, until it is applied for the necessary period of
time by Current, the Power will have not have the impact sufficient to
affect change. So in a quad, assigning one of the items as the Power does
not mean it will alter the course of the story. Instead, it might function
to direct effort by providing a specific target. 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.
Preconception --
[Variation] -- dyn.pr. Preconception<-->Openness
-- unwillingness to re-evaluate -- Preconception is a pre-conception that
prevents one from entertaining information contrary to a held conclusion.
When one shuts his mind to additional data, there is no way to realize
that the conclusion might be in error. Contradictory observation no longer
becomes part of experience so experience ceases to grow. Obviously, this
can lead to all kinds of actions and attitudes that work to the detriment
of oneself and others. On the other hand, Preconception can steel one
against temporary exceptions that tempt one to veer from the true path.
Question -- Is it bad to have Preconceptions against evil? -- syn.
prejudice, closed mindedness, narrow mindedness, intolerancy, stubbornness,
unwillingness to reevaluate
Preconditions --
[Type] -- Restrictions imposed on the effort to reach the goal
-- When meeting the requirement is made contingent upon some non-essential
restriction, the extra baggage is referred to as Preconditions. Depending
upon the nature of the Preconditions and the nature of a character, it
may turn out that although the prerequisites will achieve the goal, the
goal itself is improper and only the Preconditions can actually solve
the problem. Misplaced emphasis is a common thematic exploration.
Preconditions --
[Variation] -- dyn.pr. Prerequisites<-->Preconditions
-- limitations tacked on to an effort -- When access to resources necessary
to meeting pre-requisites is made contingent upon some non-essential accomplishment
or limitation, the extra baggage is referred to as Pre-conditions. Depending
upon the nature of the Pre-conditions and the nature of a character, it
may turn out that although the pre-requisites will achieve the goal, the
goal itself is improper and only the Pre-conditions can actually solve
the problem. Misplaced emphasis is a common thematic exploration. -- syn.
provision, prescribed specification, imposed stipulation, limiting
parameters, imposed limitations
Preconscious
(a.k.a. Impulsive Responses) -- [Type] -- dyn.pr. Subconscious<-->Preconscious
-- immediate responses -- Built into the mind is an instinctual base of
reactions and attitudes that cannot be altered but merely compensated
for. When a story's problem revolves around the unsuitability of someone's
essential nature to a given situation or environment, the central issue
is the Pre-Conscious. The solution lies in the character conditioning
himself to either hold his tendencies in check or develop methods of enhancing
areas in which he is naturally weak in reason, ability, emotion, or intellect.
-- syn. unthinking responses, immediate responses, impulse, impulsive
response, instinctive response, innate response, reflex
Prediction -- [Variation]
-- dyn.pr. Interdiction<-->Prediction -- a determination
of a future state of affairs -- Prediction explores the effort to learn
the course of one's destiny. Destiny is the path to a particular fate
or through a series of fates. Fates are experiences or conditions one
must encounter along the way as one's destiny directs one's course. The
nature of destiny is such that no matter how much a character is aware
of the nature and location of an undesirable fate, nothing he can do is
enough to pull him off the path. However, if one could know the future
course, one could prepare for each eventuality in order to minimize or
maximize its effect. -- syn. foresight, foreseeing, anticipation,
envisioning one's future, prophecy, forecast, foretell, prognosticate
Prerequisites --
[Type] -- The essential preliminaries that must be met to complete
the Requirements -- Prerequisites are the essential or necessary steps
or accomplishments that must be achieved in order for something to occur.
If a goal has a single requirement, there may be many prerequisites to
achieving that requirement.
Prerequisites --
[Variation] -- dyn.pr. Preconditions<-->Prerequisites
-- preliminary steps that must be met -- Prerequisites are the essential
or necessary steps or accomplishments that must be achieved in order for
something to occur. If a goal has a single requirement, there may be many
prerequisites to meeting that requirement. -- syn. essential steps,
necessary requisites, compulsory stipulation
Present (The
Present) -- [Type] -- dyn.pr. Past<-->Present
-- the current situation and circumstances -- "Present" does
not refer to the way things are going, but to the way things are. It is
a here and now judgment of the arrangement of a situation and the circumstances
surrounding it. A story that focuses on the Present is not concerned with
how events led to the current situation nor where the current situation
will lead, but defines the scenario that exists at the moment . -- syn.
how things stand, the here and now, current situation, as of this
moment
Proaction -- [Element]
-- dyn.pr. Reaction<-->Proaction -- taking initiative
action to achieve one's goals -- The Proactive characteristic will urge
a character to begin problem solving on his own. This character will be
a self-starter who is up and at it the moment he realizes a potential
problem exists. Sometimes, however, a potential problem may not actually
materialize and would have disappeared in short order by itself. Proaction
may actually cause the problem to occur by irritating the situation. Worse
yet, the character representing Proaction may act before the true nature
of the problem is seen, leading him to cause damage to innocent or non-responsible
parties, sometimes actually aiding the real source of the problem. --
syn. to initiate action, execute, undertake, commit, implement
Probability --
[Element] -- dyn.pr. Possibility<-->Probability
-- a determination of likelihood -- The character having the Probability
characteristic puts its beliefs and efforts behind what is most likely.
It is not as bound to safety as a character containing the Certainty characteristic,
yet will still only take "calculated" risks. It is always playing
the odds and changes direction in mid-stride if the odds change. This
allows it to steer clear of many dangers but also tends to make it fickle.
-- syn. likelihood, prospective, predictable, promising
Problem -- [Element]
-- The underlying cause of the story's difficulties -- Of all the
Elements, there is a single one that describes the essence of the story's
problem. The inclusion of this element in an Overall Story Character identifies
him as the Main or Impact Character. This is because it makes that character
the only one who can solve both the Overall and Main vs. Impact problems
in a single stroke by addressing the problem (changing).
Problem Solving
Style (a.k.a. Mental Sex) -- [Character Dynamic] -- a determination
of the Main Character's mental operating system -- Much of what we are
as individuals is learned behavior. Yet the basic operating system of
the mind is cast biologically before birth. Talents, intellectual capacity,
instincts -- all of these are not learned but inherited. Among these traits
are those specific to females and others specific to males. To be sure,
we can go a long way toward balancing out those traits yet that does not
eliminate them nor diminish their impact. In dealing with the psychology
of a Main Character, it is essential to understand upon which foundation
his experience rests and the technique he uses to resolve problems he
encounters.
Process -- [Element]
-- dyn.pr. Result<-->Process -- the mechanism through
which a cause leads to an effect -- A Process is a series of interactions
that create results. The character representing Process will concentrate
on keeping the engine running smoothly. Unfortunately, he often forgets
to look where the car is actually going. Sometimes the experiences along
the way are the important part, other times it is arriving at the destination.
-- syn. chain of interactions, manner of procedure, cause/effect
relation, progression, ongoing pull or tendency
Production -- [Element]
-- dyn.pr. Reduction<-->Production -- a process of thought
that determines potential -- Production is a process of thought that determines
potential. Almost like deduction in reverse, rather than arriving at a
present truth by limiting out what cannot be, Production arrives at a
future truth by limiting out what can not happen. Anything that remains
has potential. The problem for the character representing the Production
characteristic is that Potentiality is often mistaken for Certainty if
he fails to realize that any overlooked or unknown information can completely
alter the course of the future. -- syn. determining potential,
noticing possibilities, ruling out future impossibilities, discovering
of potential
Progress (a.k.a.
How Things Are Going) -- [Type] -- dyn.pr. Future<-->Progress
-- the way things are going -- Progress concerns itself with change --
what direction and how fast? It is not so important where things were,
are, or will be, but rather how the struggle between inertia and change
seesaws over the course of the story. -- syn. flowing, advancing,
proceeding, moving forward, developing step by step, graduated, staging,
successive, procession, the way things are going
Projection -- [Element]
-- dyn.pr. Speculation<-->Projection -- an extension
of probability into the future -- Projection is a means of anticipating
events and situations by extending the line of how things have been happening
into the future. A character that represents Projection has a good grasp
of what he might look for in things to come. However, this character will
give great weight to past experience so abrupt changes in direction might
be ignored until it is too late. -- syn. anticipation, how things
will be, most likely, probable
Protagonist --
[Archetype] -- An Archetypal Character who represents
the qualities of Pursuit and Consider -- An Overall Story Character charged
with the responsibility of pursuing a solution to the story's Overall
(Objective) problem. An Overall (Objective) problem does not mean it can't
be personal. Rather, it means that all of the dramatically functioning
characters in the story are concerned about the outcome. The true Archetypal
Protagonist pursues the solution against the Antagonist. In other stories
a close cousin of the Protagonist shares all the same elements except
he tries to avoid the Antagonist's plan. For the Pursuing Protagonist
the goal is to cause something. For the Avoiding "Protagonist"
the goal is to prevent something.
Protection -- [Element]
-- dyn.pr. Inaction<-->Protection -- an effort to prevent
one's concerns from being vulnerable to interference -- Protection is
the act of building one's defenses against actual and potential threats.
Certainly, preparing for problems brings a character advantages should
the problems occur. However, the very act of building defenses can be
interpreted as a threat to others who rely on Proaction and thereby precipitate
the very aggression the character had tried to protect against. Also,
a character representing Protection may stifle another's need for risk-taking
or become so wrapped up in preparations that there are no resources left
to use for advancement. -- syn. defense, safeguard, preservation,
precaution
Proven -- [Element]
-- dyn.pr. Unproven<-->Proven -- a rating of knowledge
based on corroboration -- Proven refers to an understanding that has been
shown to be correct enough times to enough people to hold it as fact.
The character representing Proven will judge truth only by what has been
sufficiently verified. This makes it wary of unsubstantiated rumors, evidence,
or conclusions. In the negative column, determining something is Proven
requires drawing an arbitrary line that says, "Enough it enough,
it's true!" The moment one assumes that the understanding is Proven,
one ceases to look for exceptions. When a connection is made between two
events or people on the basis of a series of "Proven" facts,
all it takes is one exception to ruin the argument. -- syn. verified,
confirmed, corroborated, established, demonstrated, shown
Psychology (a.k.a.
Manipulation) -- [Class] -- dyn.pr. Physics<-->Psychology
-- a manner of thinking -- The Psychology Class is where the evolution
or change in an attitude is explored, unlike the Mind 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
Purpose -- A
desired and intended result -- Purpose and Motivation are often confused.
Whereas Motivation is the drive that the character must fulfill or satisfy,
Purpose is the specific item that will satiate that drive. Sometimes a
character will attempt to satiate his Motivation by achieving several
Purposes, each of which does part of the job. Other times, a single Purpose
can assuage multiple Motivations. Many interesting stories are told about
characters who struggle to achieve a Purpose that really will not meet
their Motivation or about characters who achieve a Purpose for the wrong
Motivation. But other, less common arrangements sometimes present more
Deliberation oriented stories where the character achieves a Purpose near
the beginning and then must search to find a Motivation that gives it
value, or a character who has a strong Motivation but must search for
the Purpose that truly accommodates it.
Pursuit -- [Element]
-- dyn.pr. Avoidance<-->Pursuit -- a directed effort
to resolve a problem -- The character representing Pursuit is a real self-starter.
The Pursuit characteristic leads a character to determine what he needs
to achieve and then make a bee-line for it. This may seem admirable and
it can be. Unless of course he is trying to pursue something bad for himself
and/or for others. In fact, it may be that the object of the Pursuit doesn't
want to be pursued. "If you love something let it go... If it loves
you, it will come back. If it doesn't come back, hunt it down and kill
it." -- syn. seek, go after, attempt to achieve, look for,
directed effort
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