Dramatica Theory Book

Chapter 30: Storytelling and Encoding Theme (Continued)

In our Main Character example, we did not feel like we were judging the Main Character himself because of the results of his actions. Rather, we were making a judgment about the relative value of Morality and Self-Interest. In contrast, the Obstacle Character theme encoding is designed to place a value judgment on the Obstacle Character himself.

Obstacle Characters are looked at, not from. As such, we want to evaluate the appropriateness of their actions. Part of this is accomplished by showing whether the Obstacle Character's influence on the balance between Range and counterpoint results in positive or negative changes.

Suppose we keep everything from our Main Character example in the diner the same, except we substitute the Obstacle Character instead. All the events would transpire in the same order, but our point of view as an audience would have to shift. The question for the audience would no longer be, "How am I going to respond in this situation?" but would become, "How is he going to respond in this situation?"

The point of view shot through the window might no longer be appropriate. Instead, we might shoot from over the shoulder of the Obstacle Character. Further, we would want to make sure the audience does not get too drawn in toward the Obstacle point of view. So, we might have another customer observing the whole thing. Or, we might simply choose camera positions outside the diner to show what happens, rather than staying in the whole time looking out as we did with the Main Character.

Novels, stage plays, and all different media and formats present their own unique strengths, weaknesses, and conventions in how one can appropriately encode for a given throughline. Knowing which ones to use and inventing new ones that have never before been used comprises a large part of the craft and art of storytelling.