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Dramatica
Dictionary
S
Scene· [Storyweaving]
-- A temporal unit of dramatic construction usually employed in Plays,
Screenplays, and Teleplays. -- Although there is some variation, Scene
is usually defined as all of the dramatic events which occur in a single
place and time until either place or time changes. In Screenplays and
Teleplays, Scenes are numbered in the original draft sequentially according
to every change in location or time. For example, each scene would begin
with the format, INT or EXT (for Interior or Exterior) followed by the
location's name, such as JOE'S GARAGE. The final information is the time,
which in Screenplays is usually limited to DAY or NIGHT, although other
variations occur if absolutely necessary to convey specifics. Most Stage
Plays are divided into Acts, which represent complete dramatic movements
in the overall story. Each Act is usually sub-divided into two or three
Scenes, which are identified as all the action and dialog which takes
place in a single location and time. So, Act 1, Scene 2 might be: Joe's
Garage ~ later that evening. A less common usage of "Scene"
is as a unit representing a complete dramatic movement, such as an argument
that begins, develops, and resolves. Although in a dramatic sense this
is a useful application of the word, in practice, complete dramatic movements
are often segmented and intermixed for storytelling purposes to create
parallel action, delayed payoffs, and many other interest generating techniques.
In keeping with the most common definition, Dramatica uses "Scene"
to mean everything that takes place consecutively in a single place and
time.
Security -- [Variation]
-- dyn.pr. Threat<-->Security -- an evaluation of one's
protections -- Before one can expand to greater achievements, it is important
to protect what one has already achieved. When a character is concerned
with Security, he builds defenses against threats both known and anticipated.
However, actual dangers may or may not fall within the ability of the
protections to keep one secure. Subjectively, a character must determine
when he feels secure, based on his experience. For example, a famous comedian
once related that he always bought so many groceries he had to throw many
away when they spoiled. This, he said, was because he had gone hungry
so often as a child. When a character's experiences motivate him to over
or under prepare for dangers, Security may actually become a danger itself.
-- syn. evaluation of safety, measure of safeguards, appraisal
of one's protections, gauge of defenses
Self-Aware -- [Element]
-- dyn.pr. Aware<-->Self-Aware -- being conscious of
one's own existence -- When a character possesses Self-Awareness he fully
appreciates all his feelings, thoughts, abilities, and knowledge. Everything
he experiences or observes is couched in terms of his own point of view.
As the downside, he may not be able to understand that some things that
happen don't pertain to him at all and in fact happen best without him.
-- syn. self-conscious, conscious of one's existence, self-perceiving,
self-appreciating, self-cognizant
Self-Interest --
[Variation] -- dyn.pr. Morality<-->Self-Interest
-- doing or being based on what is best for oneself -- In its pure form,
Self-Interest is defined as the quality of ALWAYS choosing what is best
for oneself with NO consideration as to the effect on others. This does
not require ill intent toward others. A character who is Self-Interested
simply focuses on the personal ramifications of decisions. In fact, in
stories that show the evil nature of an oppressive society or regime,
Self-Interest can be a very positive thing. -- syn. self-serving,
self-centered, narcissistic, selfishness, self-absorbed, egocentric
Sense-Of-Self --
[Variation] -- dyn.pr. State of Being<-->Sense
of Self -- one's perception of oneself -- Simply put, Sense of Self is
our own Self Image. A character may not truly know who he is but he always
knows who he thinks he is. This inward-looking view may be right on the
mark or not even close. The difficulty a character has is that from inside
himself it is impossible to be sure who he is. All he can do is take clues
from the reaction of those around him. Interesting storytelling sometimes
places a character among those who provide a warped feedback that creates
a false Sense of Self in the character. This erroneous image may be far
better, far worse, or simply different than his actual state of being.
Other stories force a character to come to grips with the fact that he
is wrong about himself, and the opinions of others are accurate. In a
Main Character, the differential between Sense of Self and State of Being
is part of what separates the Subjective from the Overall story lines.
-- syn. perception of self, self image, self identity, self attribution
Senses -- [Variation]
-- dyn.pr. Interpretation<-->Senses -- sensory observations
-- Senses refers to the raw data supplied to the mind to interpret. Sometimes
the data is accurate, other times it is faulty even before the mind gets
hold of it. Senses describes the overall accuracy of an observation (such
as seeing a crime or checking the results of a test). When taken in conjunction
with its Dynamic Pair of Interpretation, all manner of error or accuracy
can be created. This provides the author with a powerful storytelling
tool to create comedies and tragedies based in error and misunderstanding.
-- syn. perceptual data, raw sensations, sensory impressions,
immediate impressions, perceptions
Set -- [Structural
Term] -- A set is a grouping of 16 units. Although the set contains
four separate quads and the units are all in specific positions according
to their natures, the quads are not considered in the set. This is because
the concept of the set is to define a group of 16 that all have similar
natures. In other words, a set is an umbrella that equally covers each
of 16 individual units in a group.
Sidekick -- [Archetype]
-- An Archetypal Character who represents the qualities of
Faith and Support -- The Sidekick is the absolutely faithful and supportive
member of the Archetypal character set. Although frequently attached to
the Protagonist, the Sidekick is identified by what his qualities are,
not by who he is working for. In fact, the Sidekick might be attached
to the Antagonist or not attached at all. His function is to represent
the qualities of faith and support, not specifically to be in service
of any other character. However, if the Sidekick is bound to the Protagonist,
he can be effectively used to mirror the Author's feelings about the conduct
of the Protagonist. Moving scenes can be created by a misguided Protagonist
actually alienating the faithful, supportive Sidekick. Although the Sidekick
would never turn against the Protagonist, he can turn away from him, leaving
rather that being a party to something he finds immoral or disappointing.
Signpost -- [Type]
-- Sequential markers of a story's progress that indicate the kind
of concern central to each throughline in each Act.
Situation (a.k.a
Universe) -- [Class] -- dyn.pr. Fixed Attitude<-->Situation
-- a situation -- The Situation Class is where any fixed state of affairs
is explored, such as an institution, system, or situation that remains
stable and unchanging. The point may be to show that the system is good,
bad, or neutral, but the focus must be on the system not on how the system
is changing. -- syn. a static situation, a set of circumstances,
state of affairs, predicament, environment, milieu
Situation -- [Variation]
-- dyn.pr. Circumstances<-->Situation -- the arrangement
of one's environment -- Situation describes the ins, outs, and practical
considerations of the environment in which a character finds himself.
Throughout a story, the situation may evolve or may remain constant, depending
upon the essence of the message and the nature of the plot. Since it is
limited to the practical, Situation can only be measured and/or interpreted
though Reason. -- syn. how things stand rationally, a reasoned
evaluation of environment, arranged context, environmental state, surroundings,
predicament
Skeptic -- [Archetype]
-- An Archetypal Character possessing the qualities of disbelief
and oppose -- If a Sidekick is a cheer leader, a Skeptic is a heckler.
The Skeptic still wants to see its team win, but doesn't think it can
and is sure this is because the team members are going about it all wrong.
Therefore, the Skeptic exhibits disbelief and opposes all efforts. Of
course, when the team really is misguided, the Skeptic is in fact right
on track. As with all Overall Story Archetypes, the Skeptic applies its
outlook to hero and villain alike. In other words, the qualities of disbelief
and oppose describe the nature of the Skeptic - not just its opinion about
a particular issue. So, the Skeptic also doubts the bad guys are as powerful
(or bad) as they are said to be, and opposes them as well. One purpose
of stories is to illustrate how well different personality types fare
in the effort to solve a particular kind of problem. Archetypal Characters
represent the most broad categories into which personality types might
be categorized. The Skeptic provides the opportunity to explore how well
a doubter and naysayer does in resolving the story's troubles.
Skill -- [Variation]
-- dyn.pr. Experience<-->Skill -- practiced ability
-- Skill is the innate potential to accomplish either that which is physical
or mental. It does not require the practical experience necessary to tap
that potential, just that the latent capacity exists. Skill might be seen
as raw physical ability, talent, or intellectual or emotional aptitude
which may or may not ever be developed. -- syn. proficiency, aptitude,
competence, adeptness, degree of expertise, practiced ability, honed ability
Solution -- [Element]
-- The specific element needed to resolve the story's problem -- The
Solution Element is the "flip side" of the Problem Element.
In a Change story, for instance, 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").
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. In Steadfast stories,
the Solution Element represents the nature of the things that would resolve
the Overall Story Problem. Again it is the "flip side" of the
problem, but it has exclusively to do with the Overall Story since the
Main Character does not, in these cases, share the same problem as the
Overall Story.
Speculation --
[Element] -- dyn.pr. Projection<-->Speculation
-- an extension of possibility into the future -- Speculation is the effort
to determine what could conceivably happen in the future even though it
is not the most likely scenario. Speculation leads a character to expect
the unlikely in the event that it actually occurs. Difficulties arise
when Speculation runs rampant and a character puts effort into preparing
for things that are so unlikely as to be unreasonably improbable. -- syn.
prognostication, surmising possibilities, conjecturing
Start -- [Character
Dynamic] -- The audience wants something in the story, which is directly
connected to the Main Character, to begin -- Start means something different
in a story where the Main Character has a Resolve of Change than in a
story where the Main Character has a Resolve of Steadfast. If the Main
Character must Change because he lacks an essential trait, then he must
Start doing or being something they currently are not. If the Main Character
is holding out Steadfastly until something begins in his environment,
then he is waiting for something to Start. The term simply describes an
aspect of the growth which happens in the Main Character.
State-of-Being
-- [Variation] -- dyn.pr. Sense of Self<-->State-of-Being
-- one's true self -- State of Being describes the actual nature of a
character. The character himself is often not aware of the true nature
of his being. In fact, there may be no one at all who fully understands
all that he is. However, in the communication between Author and Audience,
the essence of a character must be fully explained or the story's message
will be obscured. -- syn. essence, one's true self, true self,
essential nature, core being
Static Plot Points
-- {Storytelling} -- There are Overall Throughline Story
Points, Main Character Story Points, Impact Character Story Points and
Main vs. Impact Throughline Story Points. There are even story points
that are the synthesis of all four points of view such as Goal, Requirements,
and Consequences. These central Story Points seem the most plot-like because
they affect the Concerns of all four throughlines. As varied as all of
these story points are, there is one quality they share: they stay the
same from the beginning to the end of a story. Story Points of this stable
nature are called Static Story Points.
Steadfast Character
{Character Appreciation} -- The Main vs. Impact Character
who ultimately retains his essential nature from the beginning of the
story to the end of story -- Every Main vs. Impact Character (both the
Main and Impact Character) represents one special character element. This
element is either the cause of the story's problem or its solution. The
Main vs. Impact Character cannot be sure which he represents since it
is too close to home. Near the climax of the story, each Main vs. Impact
Character must demonstrate whether he has stuck with his approach in the
belief that it is the solution or jumped to the opposite trait in the
belief that he is the cause of the problem. There will only be one Steadfast
Character in every story, however when a Main vs. Impact Character decides
to stick with his story-long approach, he is said to Remain Steadfast.
Steadfast -- [Character
Dynamic] -- The Main Character sticks with his essential nature while
attempting to solve the problem -- 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 he represents
since it is too close to home. Near the climax of the story, the Main
Character must demonstrate whether he has stuck with his original approach
in the belief that it is the solution or jumped to the opposite trait
in the belief he has been wrong. When a Main Character decides to stick
with his story-long approach, he is said to remain Steadfast.
Stipulation
-- [Type] -- See Benchmark
Stop -- [Character
Dynamic] -- The audience wants something in the story, which is directly
connected to the Main Character, to desist -- Stop means something different
in a story where the Main Character has a Resolve of Change than in a
story where the Main Character has a Resolve of Steadfast. If the Main
Character Changes because he possesses a detrimental trait, then he Stops
doing or being something he has been. If the Main Character is Steadfast
in holding out for something outside himself to be brought to a halt,
he is hoping that it will Stop. The term simply describes an aspect of
the growth which happens in the Main Character.
Story Mind -- The
central concept from which Dramatica was derived is the notion of the
Story Mind. Rather than seeing stories simply as a number of characters
interacting, Dramatica sees the entire story as an analogy to a single
human mind dealing with a particular problem. This mind, the Story Mind,
contains all the characters, themes, and plot progressions of the story
as incarnations of the psychological processes of problem solving. In
this way, each story explores the inner workings of the mind so
that we (as audience) may take a more objective view of our decisions
and indecisions and learn from the experience.
Story Point --
Story Points are items of dramatic meaning that are common to all
stories. Meaning is created when an identifiable topic is seen from a
particular point of view. This creates perspective which takes into account
both the observation and the observer. In complete stories, there are
four principal viewpoints at work: Overall Story, Main Character, Impact
Character, Main vs. Impact Story. Each viewpoint has its own unique Story
Points, though they parallel and match item for item the Story Points
from another viewpoint. In addition, some Story Points are from a wider
view, describing the relationship among the viewpoints and the dramatic
results of their combined perspectives. In this manner, a story structure
built from these Story Points will cover all the topics and viewpoints
necessary to fully explore an issue central to them all. Common Story
Points include such dramatic items as Goal, Requirements, Problem, Concern,
and Outcome.
Story Point Items
-- Items that are found in Dramatica's Story Points window. These
are divided into Character Dynamics, Overview Story Points, Plot Dynamics,
and Thematic Points.
Story Reception
-- The process of tailoring the telling of a story to a specific audience
-- Every culture and sub-culture has its own lingo, taboos, and givens.
As a result, most stories do not play the same for one kind of audience
as for another. Story Reception seeks to anticipate and take into account
the nature of the target audience to tailor the story so that it is received
as intended. Although we all have the capacity to feel the same emotions
and make the same logistic connections, our particular sub-culture may
shy away from certain emotions, or brand a particular kind of reasoning
as inappropriate. Further, just because we may empathize with the same
emotions doesn't mean we all feel as deeply, or if we see logical connections
that we all grasp them as quickly. Especially when writing for audiences
such as children, it is important to consider depth and speed as well
as buzzwords and popular symbols. Often we can take advantage of cultural
symbols to express mountains of sense and oceans of mood with a single
story point. Other time we must develop an inordinate amount of media
real estate to get across the most simple experiences, if they fall outside
familiar cultural bounds for out audience. The important point for an
author is to determine the target audience and make sure to be or become
familiar enough with that audience to take cultural expectations and taboos
into account. For an enlightened audience, the task is to recognize that
other ingrained cultural imperatives exist, and to seek to appreciate
a story in the context in which it was created.
Story versus Tale
-- A tale describes a problem and the attempt to solve it, ultimately
leading to success or failure in the attempt. In contrast, a story makes
the argument that out of all the approaches that might be tried, the Main
Character's approach uniquely leads to success or failure. In a
success scenario, the story acts as a message promoting the approach exclusively;
in the failure scenario, the story acts as a message exclusively against
that specific approach. Tales are useful in showing that a particular
approach is or is not a good one. Stories are useful in promoting that
a particular approach is the only good one or the only bad
one. As a result of these differences, tales are frequently not as complex
as stories and tend to be more straight forward with fewer subplots and
thematic expansions. Both tales and stories are valid and useful structures,
depending upon the intent of the author to either illustrate how a problem
was solved with a tale or to argue how to solve a specific kind
of problem with a story.
Storyform -- [Dramatica
Term] -- The structural and dynamic skeleton of a story -- When a
story is stripped of all its details and Storytelling, what is left are
the appreciations and thematic explorations that make up a Storyform.
When a story fully illustrates the Storyform it is working from it will
make a complete argument without any "plot holes" because the
argument of a story is its Storyform.
Storyforming versus
Story telling -- There are two parts to every communication between
author and audience: the Storyforming and the Storytelling. Storyforming
deals with the actual dramatic structure or blueprint that contains the
essence of the entire argument to be made. Storytelling deals with the
specific way in which the author chooses to describe that structure to
the audience. For example, a story might call for a scene describing the
struggle between morality and self-interest. One author might choose to
show a man taking candy from a baby. Another might show a member of a
lost patrol in the dessert hoarding the last water for himself. Both what
is to be illustrated and how it is illustrated fulfill the story's mandate.
Another way of appreciating the difference is to imagine five different
artists each painting a picture of the same rose. One may look like a
Picasso, one a Rembrandt, another like Van Gogh, yet each describes the
same rose. Similarly, different authors will choose to tell the same Storyform
in dramatically different ways.
Storyforming --
the process of creating the dramatics of a unique story by arranging
structure and dynamics -- When an author thinks of the way he wants his
story to unfold in terms of the point he wants it to make and how his
characters will solve their problems, what that author is doing is Storyforming.
Before Dramatica, the tendency was to actually blend the two processes
of Storyforming and Storytelling together so that authors thought of what
they wanted to say and how they wanted to say it more or less simultaneously.
But these are really two distinct acts which can be done separately, especially
with the help of Dramatica.
Storytelling (a.k.a.
Storyencoding) -- The process of developing a dramatic structure into
specific symbols, events, and scenarios There are four stages in the process
of communication from author to audience. They are: Storyforming, Storytelling,
Storyweaving, and Story Reception. Storyforming establishes the underly
ing dramatic structure of a story. Storytelling turns raw story points
into specific scenarios, events, and dialog. Storyweaving determines how
the illustrated story points will be revealed or unfolded to the audience.
Story Reception refines the story to tailor it for a specific audience.
In practice, most authors work creatively in more than one stage at a
time. Dramatica separates the stages, allowing an author to seek specific
help and information regarding any part of the process. In keeping with
this approach, Storytelling has its own purpose, yet relates to the other
three stages as well. As an example, one author might begin with Storyforming
and then continue to Storytelling. Another might begin with Storytelling
and then approach Forming. As an example, Author #1 makes a Storyform
decision that the Goal of his story should be Obtaining. Then, in Storytelling,
he illustrates or employs Obtaining as "The Goal is to Obtain a Buried
Treasure." Author #2 might begin in Storytelling, writing, "The
Goal is to win Jan's love." Then, developing the structure that supports
that story point, the Author #2 approaches Storyforming, and out of all
the structural choices, picks "Obtaining" as Storyforming item
that best describes his story's Goal. Any given Storyforming item can
be illustrated in any number of ways. And, any already illustrated story
point might be interpreted as any one of the Storyforming items. Regardless
of which order is taken, associating a Storyforming item with an illustrated
story point clarifies the dramatic essence of the structure, as illustrated
in a given form. This allows an author to more precisely develop the overall
story in a consistent and complete manner.
Storytelling --
[generic] -- The process of communicating a story's dramatic
structure through the developing and unfolding of symbols, events, and
scenarios -- We've all heard good jokes told poorly. We've all hear terrible
jokes told well. When a good joke is told well, everything works together.
When a bad joke is told poorly, nothing can save it. Part of what makes
up a story is the underlying dramatic structure. Another part is the manner
in which that structure is expressed. In a sense, Structure represents
the Craft of writing, and Storytelling represents the Art. The structure
itself is always invisible in the story, for it is the conceptual framework
connecting all the dramatic potentials. What is visible is the embodiment
of that structure in scenarios, events, and symbols, which collectively
constitute the Storytelling. Storytelling, therefore, must do two jobs:
entertain the audience through clever presentation and be focused enough
to accurately convey the underlying structure
Storyweaving --
The process of unfolding a story's dramatic structure over time --
There are four stages in the process of communication from author to audience.
They are: Storyforming, Storytelling, Storyweaving, and Story Reception.
Storyforming establishes the underly ing dramatic structure of a story.
Storytelling turns raw story points into specific scenarios, events, and
dialog. Storyweaving determines how the illustrated story points will
be revealed or unfolded to the audience. Story Reception refines the story
to tailor it for a specific audience. Storyweaving has two aspects: Exposition
and Expression. Exposition determines how information about the story
will be doled out to the audience. Expression implements the Exposition
in specific words, events, dialog, music, visuals, etc. When approaching
Storyweaving it helps to know in advance what the story is about. Otherwise,
one is trying to arrive at a consistency in presentation at the same time
one is trying to determine what, in fact, ought to be presented. The Exposition
aspect takes stock of all the story points and information that must be
conveyed to the audience, including progressions of events which must
occur in a particular order for the story to make logistic sense. Then,
a plan for revealing this information is worked out so that some story
points are presented directly, others are doled out over the course of
the story, others are hidden, and still others are designed to first mislead
the audience and then expose the fact of the matter. The Expression aspect
is the most creative part of authorship. It is here that a novelist writes
the actual chapters, or a Playwright pens the specific dialog. Even when
the manner in which Exposition is to occur is known, the means of Expression
has yet to be determined. For example, if the Exposition plan has been
to reveal an important event in the backstory through a flashback, an
author might choose to Express that event and the manner in which the
flashback occurs in any number of ways. Collectively, Exposition and Expression
translate what a story is about into the linear progression of how the
story unfolds and is revealed through Storyweaving
Strategy -- [Variation]
-- dyn.pr. Analysis<-->Strategy -- a plan to achieve
one's purpose or a plan of response -- The specific plan or series of
interconnected plans that are intended to produce a desired result is
called a Strategy. The sophistication of a strategy can range from complex
to non-existent (if a character prefers to wing it). Sometimes a strategy
is on the mark, other times it is completely inappropriate to its intended
purpose. Either way, for the audience to appreciate its apt or inept construction,
the plan must be spelled out in full. In storytelling, Strategy can define
limits and draw out parameters for a story. This is a useful variation
to use for connecting theme to plot. -- syn. scheme, tactic, plan,
ploy, decided approach
Structural Semantic
Items -- Terminology found in the Dramatica table of story
elements, e.g. "Situation (Universe)," "Obtaining,"
"Memories," "Self Interest," "Faith," "Chaos,"
etc. These items are divided into four sections: Classes, Elements, Types,
and Variations
Structural Terms
-- These are Dramatica terms used to describe story structure,
as opposed to story content. They include terms like "Act,"
"Quad," and "Dynamic Pair."
Subconscious
(The Subconscious) --[Type] -- dyn.pr. Preconscious<-->Subconscious
-- basic drives and desires -- Subconscious describes the essential feelings
that form the foundation of character. These feelings are so basic that
a character is often not aware of what they truly are. When the Subconscious
is involved, a character is moved right to the fiber of his being. --
syn. libido, id, basic motivations, basic drives, anima
Subjective Story
Throughline -- See Main vs. Impact Throughline.
Subplot --
[Storytelling] -- A less developed story hinged to the main story
-- Subplots are often misunderstood to be secondary subordinate stories
running in parallel to the main story. Such secondary stories are a valid
storytelling technique but they are not Subplots. A Subplot in not a separate
independent story but an amplification of a branch or aspect of the main
story. Each Subplot is, indeed, a story in its own right but it is connected
to the main story through one of the Overall (Objective) story characters.
This Overall (Objective) story character does double duty as the Main
Character (a Main vs. Impact character) in the subplot. As a result, it
is inappropriate to hinge a subplot around either the Main or Impact Characters
of the main story as the two story lines would become blurred and create
confusion as to the message intended. In order to keep Subplots from appearing
to be the main story, it is important to draw them with less detail. This
does not mean they should be incomplete or sketchy, rather that the Subplot
should be explored in less depth. There can be as many Subplots as there
are Overall (Objective) story characters. A large number of subplots will
become unwieldy, however, and can needlessly complicate the telling of
a story, blurring or diverting the audience's understanding of the main
story. Similar to the Main Character of the main story, the Main Characters
of the subplots should be limited to one story each. Not all "multiple
plot" stories consist of subplots attached to a main plot. Frequently
in serial programs such as soap operas, certain forms of episodic television,
and some written serials such as comic strips, several complete stories
run in parallel, connected only by their common setting or by using the
same ensemble of characters. In this form of storytelling, characters
do double duty, playing multiple roles in a number of separate plots which
really do not directly affect each other. The point of note is that an
author should be aware of the difference between subplot and multiple
plot constructions so that the proper dramatic connections can be made
to create the greatest impact.
Success -- [Plot
Dynamic] -- the original goal is achieved -- Every objective storyline
in a Grand Argument Story has at its beginning a desired outcome to be
sought after. Ultimately, the characters will either Succeed in achieving
that outcome or fail to do so. However, Success is not always a good thing.
For example, it may be that a character succeeds at something hurtful
or evil. Even a well intentioned character might achieve something that
he is unaware will cause harm. Whatever its quality, worth or ramifications,
if the outcome desired at the story's beginning is achieved, the story
ends in Success.
Support -- [Element]
-- dyn.pr. Oppose<-->Support -- an indirect assistance
given to another's efforts -- Support is not direct help. Direct help
is actively joining someone in an effort. Support is aiding the effort
without actually participating in it. For example, a character possessing
the Help characteristic would join someone in digging a ditch. The character
representing Support would provide a shovel and cheer them on. Support
is a fine thing to keep one's spirits up, but is awfully frustrating when
you just need someone to lend you a hand. -- syn. commend, extol,
endorse, back, compliment, laud
Suspicion -- [Variation]
-- dyn.pr. Evidence<-->Suspicion -- questioning a belief
based on evidence -- Suspicion is a preliminary conclusion arrived at
with insufficient evidence. It is valuable in helping one know what kinds
of things to look for in gathering additional evidence. But it can also
be a detriment because once a character suspects something, he is less
likely to examine all the evidence for a completely alternative explanation.
-- syn. wary approach, partially justified apprehensiveness, informed
doubt, doubt based on evidence, sensible caution
Sympathy -- [Overview
Appreciation] -- The audience will care about the Main Character,
but it will not identify with him -- Sympathy describes the relationship
of the audience to a Main Character whom it cares about yet does not identify
with. To identify with the Main Character, empathy is needed, but some
story forms do not allow for empathy from either male or female audiences,
and some exclude both at once. But sympathy can still be a strong emotion,
and creating a storyform which will elicit sympathy can be a way to emphasize
the intricacies in a story's storytelling and Overall Story elements rather
than its emotional side.
Symptom (a.k.a.
Focus) -- [Element] -- The principal symptom of the story
problem -- 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 view of the problem. The
Main Character, however, is not privy to that view but must work from
his personal view instead. From this view, the problem does not appear
to be between the Main Character 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.
Symptom Element
-- [Element] -- A Main vs. Impact Character can never be sure
if what he believes to be the source of the problem really is the source
of the problem. Regardless, based on his belief he will determine a potential
solution or Response in which he hopes to find the solution. The dramatic
unit that describes what a Main vs. Impact Character holds as the path
to a solution is his Response Element.
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