Dramatica Dictionary - Written by Melanie Anne Phillips and Chris Huntley
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Dramatica Dictionary ®
Written by Melanie Anne Phillips
and Chris Huntley
www.dramatica.com
www.screenplay.com
The Dramatica Theory was developed by Melanie Anne Phillips and Chris
Huntley and was not researched nor based upon any other theories of
story design or analysis.
Copyright Notice
Copyright © 1993, 1994, 1996, 2001 by Screenplay Systems Incorporated. ALL RIGHTS
RESERVED. Screenplay Systems Incorporated, 150 East Olive Avenue, Suite 203,
Burbank California 91502, United States of America. Phone: (818) 843-6557. Internet
Electronic Mail Address: DRAMATICA@SCREENPLAY.COM
Trademarks
Dramatica is a registered trademark of Screenplay Systems Incorporated.
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 1.Vocabulary
Grammar
Vocabulary Grammar items:
Dramatica's terminology has its
own grammar with structures, desig-
[Classes]
nations, and usages which are re- The 4 basic areas a story can
flected in the vocabulary listings. The affect (Universe, Physics, Psychology,
individual Vocabulary listings are Mind).
constructed as follows:
[Types]
Vocabulary Item -- [the type of item] -- if a Vocabulary The 16 basic categories of what
term is a semantic item, the term's Dynamic Pair can be seen from a specific point of
(dyn.pr. ) will be noted -- short definition -- long defini- view or Class.
tion -- synonyms (syn.)
[Variations]
Example:
The 64 terms which describe the
Chaos -- [Element] -- dyn.pr. OrderChaos -- random
thematic message and its develop-
change or a lack of order -- Chaos is disorder, random-
ness, anarchy. The Chaos characteristic is brilliant at ment within a story as well as the
cutting through a Gordian knot. But then it just keeps ways of evaluating this message
cutting every rope it sees until the chandelier falls on its (semantic items).
head. It "stirs the pot" just to see what will bubble up to
the top -- syn. randomness, anarchy, disorder, form-
lessness, noncohesion
[Elements]
The 64 descriptions which repre-
sent the highest resolutions of ap-
The types of items which will be
proaches and attitudes required to
noted in the Vocabulary references
solve a story's problem (semantic
include:
items).
Structural Semantic
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 2.Story Points items:
[Storyform]
[Overview Appreciations]
The skeletal blue print of apprecia-
Items relating to the widest appre- tions that are at work in any single
ciation of your entire story, including story. It contains the appreciations at
the Character and Plot Dynamics work in the story which are indepen-
which describe its dramatic mecha- dent of how an author chooses to
nism and basic feel. illustrate them.
[Character Dynamics] [Throughlines]
Items relating to your Main The story appreciations that are
Character's essential nature, behav- developed from the four distinct per-
iors, and attitudes. spectives common to all stories (the
Overall Story, Main vs. Impact Story,
[Plot Dynamics] Main Character, and Impact Character
Items relating to the entire story perspectives) create a line of observa-
(both Overall Story and Main vs. tions, from each of those points of
Impact Story) in terms of the forces view, which can be followed through
that drive the plot forward and the the course of the story. These are
outcome to which they lead. called the throughlines, one
throughline for each perspective.
[Structural Items]
[Storyforming]
Items relating to the thematic
arenas to be emphasized in a particu- Determining the appreciations that
lar Storyform, focusing on goals, will be explored in a story, the per-
events, and activities. spectives from which they will be
explored, and the order in which these
[Archetype] explorations will occur within the world
of a story is called Storyforming. This
A specific type of character reflect- is independent of any Storytelling and
ing one of eight quintessential ar-
instead deals with ordering the pieces
rangements of 64 Characteristics common to all stories.
required to solve a story's problem.
[Storytelling]
[Dynamic Pairs]
Illustrating a storyform with the
Implied by every term is a specific cultural signs and artistry that an
term that is its reciprocal. Together author feels are appropriate to his
they create a paired unit where the story.
presence or absence of one affects
the presence or absence of the other.
[Storyweaving]
Every term that is a structural seman-
tic item is part of a dynamic pair. Combining the Storytelling of a
story with its Storyform.
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 3.Dramatica
Vocabulary
Ability -- Most terms in Dramatica are unique, however, limitations or is mostly or often true, it can still provide a
four items have two uses, serving both as Variation and useful way of looking at the broad issues. The more
Element. This is a result of the fundamental impor- accurate an understanding, the more specifically one
tance of the concepts represented by these four items: can apply it with certainty. The character possessing
Thought, Knowledge, Ability, and Desire. the Accurate characteristic will accept rough approxi-
[Variation] -- dyn.pr. DesireAbility -- being mations and will make judgments and perform activities
suited to handle a task; the innate capacity to do or be - that are "within tolerance" or "good enough" for the
- Ability describes the actual capacity to accomplish purpose at hand. The advantage is that little energy is
something. However, even the greatest Ability may wasted on "the law of diminishing returns." The
need experience to become practical. Also, Ability may disadvantage is that appraising things as Accurate can
be hindered by limitations placed on a character and/or lead to gross generalizations. If the character contain-
limitations imposed by the character upon himself. -- ing Accurate is not careful it may assume that an
syn. talent, knack, capability, capacity, faculty understanding applies to every instance all the time --
syn. within tolerance, sufficient, adequate, acceptable,
[Element] -- dyn.pr. DesireAbility -- being passable
suited to handle a task; the innate capacity to do or be -
- An aspect of the Ability element is an innate capacity Act -- [Structural Term] -- The largest sequential increments
to do or to be. Although all characters will have abilities by which the progress of a story is measured -- an Act
of one sort or another, only the character containing the is a noticeable shift or division in the dramatic flow of a
Ability characteristic will seem to have them all. This story which is created by the convergence of dynamics
does not mean he have developed any of his Abilities, pertaining to Character, Theme, and Plot. These
but just that he has the capacity to do so. The positive dynamics are represented in Dramatica by a sequential
side is that the character containing the Ability Charac- progression through different categories of subject
teristic can develop any skill he may need. The nega- matter called Types. Each of the four throughlines has
tive side is that just because something can be done four different Types of subject matter. For example,
does not mean it should be done. In other words, one throughline's Types might be Learning, Under-
sometimes Ability is more a curse than a blessing standing, Doing, and Obtaining. If we look at each
because it can motivate a character to exercise capaci- Type as a signpost along a road, then Learning would
ties that may be negative -- syn. innate capacity, describe where that throughline's story began and
capability, talent for, inherent proficiency Obtaining where it ended. Between the four signposts
are three journeys. In our example, a journey from
Acceptance -- [Element] -- dyn.pr. Non-acceptanceAcceptance -- a decision not to oppose -- When a and Doing to Obtaining. In a story, an author usually
character represents Acceptance, it simply adapts to designs the structure by setting up the signposts. An
whatever comes its way without opposition. Of course, audience experiences the story by taking the journey.
this can eliminate many potential conflicts by refusing So, in a sense, and author works with a four act (four
to stand against inequity. On the other hand, if the signpost) structure, and an audience perceives a three
source of the inequity keeps churning out trouble act (three journey) structure. Since both co-exist, the
Acceptance will allow that negative process to continue meaning of the term "Act" changes depending upon
unencumbered -- syn. acquiescence, tolerance, how one is coming to a story.
allowance for, consent, submission
Action -- [Plot Dynamic] -- in terms of the objective plot,
Accurate -- [Element] -- dyn.pr. Non-accurateAccu- actions force decisions -- All stories have both Action
rate -- being within tolerances -- Not all concepts work and Decision, however one will take precedence over
all the time. When an understanding has uses within
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 4.the other. Typically, one defines an Action story as is often surprised when the undefined or unformed
having more Action or more intense Action than a turns out to be very real -- syn. the true state of things,
Decision story. This view is overly influenced by how objective reality, factuality, demonstrable existence,
the story is told rather than what it represents. Dra- demonstrable reality
matica takes a different view of Action and Decision. Analysis -- [Variation] -- dyn.pr. StrategyAnalysis --
Either Actions force the need for Decisions or Deci- evaluation of the situation and/or circumstances --
sions force the need for Actions in order to advance the Analysis sits on one side of planning and strategy sits
plot. Over the course of the story as a whole (indepen- on the other. Analysis is the interpretation of available
dent of the nature of the Main Character), if Actions data in order to establish the approach most likely
precipitate the progression of the plot, it is an Action succeed. If the Analysis is faulty, it limits the potential
story. The question to ask in regards to any particular of a Strategy. If a Strategy is faulty, it limits the effec-
story is which comes first to move the story along?— tiveness of Analysis -- syn. evaluation, examination,
not which is there more of. Action stories will begin breakdown of situation, close investigation,
with an Action, be marked at the beginning and end of scrutinization
every Act by an Action, and will end with a climactic
Action. If it were not for unforced Actions taking place Antagonist -- [Archetype] -- An archetypal character who is
in an Action story, the story would dwindle until another in every way opposed to the Protagonist -- Antagonist
Action occurred. and Protagonist are diametrically opposed. What the
Protagonist pursues, the Antagonist seeks to avoid or
Activity (a.k.a. Physics) -- [Class] -- dyn.pr. Manipula- prevent. Together, Antagonist and Protagonist form a
tionActivity -- an external activity -- The Activity Dynamic Pair centered around the story's Goal. In
Class is one of action. Whereas the Situation Class order for one to succeed the other MUST fail.
describes a fixed situation, Activity is a Class of dynam-
ics. Situations evolve, develop, and change. Activities Apparent Dilemma -- [Overview Appreciation] -- The Main
are engaged in and endeavors undertaken. -- syn. an Character's decision to change results in failure --
activity, an enterprise, an initiative, an endeavor, an Apparent Dilemma describes a story where the Main
operation Character mistakenly believes he is on the wrong path.
An Actual Dilemma story, by contrast, is one in which
Actual Dilemma -- [Overview Appreciation] -- The Main the Main Character's original path cannot lead to
Character's decision to change results in success -- In success. If the Main Character Changes when only
an Actual Dilemma, the Main Character cannot suc- Remaining Steadfast would have led to success, he is
ceed if he keeps to the path he began on. Unless he said to have been in an Apparent Dilemma.
changes, he is doomed to failure. Of course, the Main
Character cannot see the future and therefore can Apparent Work -- [Overview Appreciation] -- The Main
never be absolutely sure if he should change or not. Character's decision to remain steadfast results in
That is why Main Characters must often make a "leap failure -- Apparent Work describes a story where the
of faith" at the moment of climax and decide to Change Main Character mistakenly believes he is on the proper
or Remain Steadfast. Other times, the Main Character path. An Actual Work story is one in which Remaining
is slowly drawn towards his Resolve of Changing or Steadfast is the path to success. If the Main Character
Remaining Steadfast, however it is still clear which way maintains his course when indeed he needs to
he's gone by the end of the story. In stories where the Change, he is said to have been in an Apparent Work
Main Character Changes and, succeeds as a result, he story.
is said to have been in an Actual Dilemma. Appraisal -- [Variation] -- dyn.pr. ReappraisalAp-
Actual Work -- [Overview Appreciation] -- The Main praisal -- an initial understanding -- When determining
Character's decision to remain steadfast results in which parts of evidence he should investigate and
success -- A Work story is one in which remaining which parts he doubts and therefore chooses to ignore,
steadfast is the path to success. When the Main a character makes an initial Appraisal of where the
Character's appraisal matches the reality of the situa- evidence seems to be leading. Although there is not
tion, his assessment of the Work required is said to be enough evidence to really draw a conclusion, there is
Actual. enough to indicate the direction evidence seems to be
leading. That which is not in line is doubted, and the
Actuality -- [Element] -- dyn.pr. PerceptionActuality -- more out of line, the more doubt. That which is in line
an objective reality -- the way things are -- Actuality is investigated. Of course, since this Appraisal is
refers to the true state of things. A character who based on insufficient evidence, the big picture can
represents Actuality sees right through image and change dramatically over the course of investigation.
pretense, preferring to get to the heart of the matter. It Yet, like everyday people, a character is strongly
also will not accept foregone conclusions until they influenced by first impressions and can become
have materialized. It feels that without substance there attached to an Appraisal and fail to see that the
is no meaning. The problem is that anything that does direction of evidence has changed -- syn. first impres-
not meet its strict definitions is ignored as irrelevant. It
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 5.sion, preliminary understanding, initial approach, initial progression of logistic (dispassionate) and emotional
assimilation. (passionate) meanings which are created by the
Appreciations -- Commonly shared dramatic concepts -- interactions of Character, Plot, Theme, and Genre. The
Appreciations are items of dramatic meaning that are dispassionate argument is the story's contention that a
common to all stories. When a person attempts to deal particular approach is the most appropriate one to
with troubles, certain considerations and perspectives solve a particular problem or achieve a goal in a given
are commonly adopted; "goals," for example, "require- context. The passionate argument is the story's
ments," and "consequences." Stories, which represent contention that one world view is better than another in
analogies to this problem solving process, also incorpo- terms of leading to personal fulfillment. An author can
rate these aspects. In Dramatica, these shared use his story's argument to convey his message
considerations are referred to as "appreciations." directly, indirectly by inference, or by making an exag-
gerated argument supporting what he is against. (Also
Approach -- [Character Dynamic] -- The Main Character's see Grand Argument Story.)
preferred method of general problem solving -- By
temperament, Main Characters (like each of us) have a Attempt -- [Variation] -- dyn.pr. WorkAttempt --
preferential method of approaching problems. Some applying oneself to something not known to be within
would rather adapt their environment to themselves, one's ability -- When there is a question as to the
others would rather adapt themselves to their environ- match-up of one's abilities to the demands of a task,
ment. There is nothing intrinsically right or wrong with one may still elect to attempt to complete the task.
either approach, yet it does affect how one will respond However, sometimes a character has lost sight of the
to problems. Choosing "Do-er" or "Be-er" does not purpose of the task or underestimated his progress and
prevent a Main Character from using either approach, has actually done the work while continuing to try
but merely defines the way he is likely to first approach beyond the point originally aimed at. Why does one
a problem, using the other method only if the first one beat a dead horse? Why does a billionaire struggle to
fails. earn one more million? -- syn. try, uncertain undertak-
ing, speculative endeavor, dubious effort, endeavor,
Approach -- [Variation] -- dyn.pr. AttitudeApproach -- unlikely venture
one's methodology of doing or being -- Approach is the
manner in which a character chooses to seek the Attitude -- [Variation] -- dyn.pr. ApproachAttitude --
solution to a problem. This might be a specific method one's demeanor while doing or being -- Attitude de-
or just a general set of tools or guidelines that is scribes the manner in which a character proceeds with
deemed appropriate for the job. These tools can be an approach. One character might be hard-driven,
physical or mental ones, depending upon the nature of another laid back. One may be willing to sacrifice
the problem and the determined solution -- syn. efficiency for the sake of a pleasant approach. Another
method, procedure, style, manner, manner of doing, might sacrifice pleasure in order to make the approach
one's own way. most efficient. Sometimes an approach can be pushed
too hard or not hard enough. It requires not only the
Archetypal Characters -- The eight simple Overall Char- proper approach but the appropriate attitude to arrive at
acters that can be employed in a story's thematic the solution to a problem. -- syn. demeanor, manner of
arguments -- Of all the ways the 64 Overall Character approach, countenance, behavioral outlook, perspec-
elements of Dramatica might be grouped, there is one tive on doing
arrangement that is akin to an alignment of the planets.
When all elements from one "family" of like elements Attraction -- [Variation] -- dyn.pr. RepulsionAttraction
are placed in each character, eight Archetypal Charac- -- drawing or being drawn to something -- How hard
ters are created. They are Archetypal because their should one try? How much work should one do? This
homogeneous nature accommodates all levels a is modulated by the Attraction of what one is trying to
character must have to be fully dimensional, yet line up achieve. Attraction is a directional factor that indicates
by content so well there is little internal dissonance. what lies ahead is a positive reward. When a character
Archetypal Characters are useful in stories that seek to strives toward a goal, he passes many veils along the
concentrate on plot, action, or external themes. This is way. Each one is a curtain to the future that must be
because they do not "get in the way" or clutter the ripped away to see what lies beyond. Attraction
Author's purpose. However, because they are so describes the nature of the curtain itself. Can you
predictable, Archetypal Characters are not easily used judge the pleasure of a book by the art on its cover? In
to explore the human psyche and are most readily the parable of the carrot and the stick, Attraction is the
employed in stories designed more for entertainment carrot. -- syn. allure, enticement, charm, captivate,
than message. appeal, draw, lure
Argument -- [Dramatica Term] -- the progression of Author's Proof -- [Storytelling] -- The epilogue or follow-up
logistic and emotional meanings that combine to prove to a story that proves the "outcome" of the story is real
a story's message -- A story's message is proven by a or imagined, good or bad -- Technically speaking, the
moment of climax in a story is the intersecting point
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 6.where the nature of the Main Character crosses paths smoothly and seamlessly segue. More often,
with the nature of the Overall (Objective) story. It is Backstory is explored episodically in Flashbacks or
here that the course of one, both or neither of them through other forms of revelation. Sometimes the
may be altered by the interaction. The only way an focus of the Storytelling is on the Backstory itself and
audience can be sure what, if anything, has changed the story is told episodically through flashforwards.
course is to plot one more dramatic point past the Even more complex implementations not only present
climax, as part of Act 4 to illustrate the new direction of Backstory episodically but also out of order, leaving it to
the Overall (Objective) story and Main Character. This the audience to ultimately put the pieces together and
might be the "?" after the words "The End" in a monster thereby solve a riddle necessary to solving the problem
story or a formerly mean man sharing his sandwich of the story itself.
with a stray dog on the way home. The purpose is Bad -- [Plot Dynamic] -- The Main Character ultimately
simply to illustrate that the suspected effect of the fails in resolving his personal problems -- If at the end
climax has or has not truly resulted in a change in of the story the Main character is still nagged by his
course. As such, it functions as the Author's Proof and personal problem, then the judgment of the story can
is a key component of the denouement. be considered bad. Even though the effort to achieve
Avoid• [Element] -- dyn.pr. PursuitAvoid -- stepping the story's goal may result in success, this is not
around, preventing or escaping from a problem rather necessarily a good thing for the Main Character. In fact
than solving it -- Like its counterpart Pursue, the Avoid success might be obtained in the objective story even
characteristic causes a character to be a real self- though the Main Character fails to resolve his personal
starter. The difference is that just as strongly as Pursuit problems. Conversely, the effort to achieve the story
tries to close in on the something, Avoid tries to escape goal might end in failure, yet with the Main Character
it. Avoid can take the forms "escape" or "prevent" ultimately overcoming his personal problems. Regard-
depending upon whether the focus of the effort is an less of whether the objective story ends in Success or
object or a process. Avoid might be seen as running Failure, if the Main Character fails to resolve his
away, but that has its place. And certainly, when seen personal problems, the outcome is deemed Bad.
as "prevent" it might be applied to stopping something Be-er -- [Character Dynamic] -- The Main Character
very negative from happening. Of course, it could also prefers to adapt himself to his environment -- Every
prevent something positive or really just be running Main Character will have a preference to deal with
away from something that should be faced. Pursue problems by either physical effort or by mental/emo-
and Avoid are not value judgments but directions. -- tional effort. When a Main Character prefers adapting
syn. evade, dodge, elude, escape, steer clear of, himself to the environment over working directly in the
prevent external environment to resolve problems, he is a Be-
Aware -- [Element] -- dyn.pr. AwareSelf-Aware -- er.
being conscious of things outside oneself -- A charac- Becoming (a.k.a. Changing One's Nature) -- [Type] --
ter that represents Awareness misses nothing that dyn.pr. BeingBecoming -- transforming one's
happens around him. A drawback is he may forget to nature -- Becoming means achieving an identity with
figure himself into the equation. -- syn. outward something. This is different from "being" which merely
perceptiveness, external sensitivity, consciousness of requires posing as something. To become, one must
the external, responsive do more than just pretend to be by mimicking all the
Backstory -- [Storytelling] -- Although often embellished traits of what one wants to become. Rather, one must
greatly in the Storytelling, Backstory is nothing more also lose all those parts of oneself that are inconsistent
than a description of how a Main Character's justifica- with what one wants to become. "Giving up" a part of
tion built up over time, leading him to intersect with the oneself is always the hardest part of becoming and the
story's problem, or how a story problem developed over reason so many characters spend a lot of time "being"
time, leading it to intersect with the Main Character. without ever becoming -- syn. embodying, manifesting,
Backstory outlines the sequence of events and the personifying, incarnating, transforming
combination of forces that make the Main Character Being (a.k.a. Playing a Role) -- [Type] -- dyn.pr. Becom-
the central connecting point between the Main vs. ingBeing -- temporarily adopting a lifestyle --
Impact story problem and Overall (Objective) story "Being" is an elusive word, subject to inconsistent
problem. Backstory need not be presented to the common usage. For purposes of story, Being is meant
audience as it is not essential to the story's argument to describe the condition of existing in a certain man-
about how to or how not to solve a problem. However, ner. This does not mean that whomever or whatever is
inclusion of Backstory can offer the additional benefits being a particular way is truly of that nature to the core.
of showing the audience how to avoid the problem In fact, it may be put on, as an act or to deceive.
before it becomes a problem. Sometimes Backstory is However, as long as there is nothing more or less to
presented at the beginning of the work, making it the functioning of person or thing, it can be said to "be"
appear to be part of the story itself into which it can what it appears to be. Stories often focus on someone
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 7.who wants to "be" something without actually "becom- accelerate the throughline it is affecting. In both the
ing" it. The important difference is that to "be" requires Overall and Main vs. Impact Stories there occur
that all the elements of what one wants to be are dramatic "log-jams" when things seem to be approach-
present in oneself. To "become" requires that there are ing a halt. This is when the Catalyst is necessary, for
no elements in oneself that are not in what one wants its introduction will either solve the puzzle that's holding
to become -- syn. pretending, appearing, acting like, things up or else make the puzzle seem suddenly
seeming as, fulfilling a role unimportant so the story can continue.
Benchmark -- [Type] -- The indicator of growth, progress, Cause -- [Element] -- dyn.pr. EffectCause -- the
or degree or concern -- The Benchmark is a measur- specific circumstances that lead to an effect -- The
ing stick which is used to judge progress in whichever character containing the Cause characteristic is
throughline it is operating in. In the Overall Story, it is concerned with what is behind a situation or its circum-
used to see how close the Overall Story Characters stances. This can lead it right to the source of trouble,
think they are to solving their problems. It describes the source of control. However, sometimes many
where they apply their efforts, and thus is where they things came together to create a particular effect. In
look to see how everything is coming along. that case, the Cause characteristic may fail by either
Blind Spot -- [Character Appreciation] -- The motivations looking for a single source or trying to address them all
of the Main vs. Impact Characters which they are while ignoring the option of simply dealing with the
unable to see about themselves -- Both the Main effect. -- syn. reason for, effector, source, agent,
Character and the Impact Character (who stands in the antecedent
Main Character's path) are driven by their particular Certainty -- [Element] -- dyn.pr. PotentialityCertainty -
motivations. In a story, each has a prime motivation - a conclusion that something is absolutely true -- The
that describes the one issue in each that they cannot character representing the Certainty characteristic is
see in themselves. It is because they cannot see it in not a risk taker. It must be completely sure before it
themselves that it works below the level of their con- takes action or accepts information as true. The
sciousness to motivate them. Because they cannot slightest potential for error or change will stop it in its
see it, it is called a Blind Spot. In a change character, tracks. On the plus side, it never goes out on a limb far
the Blind Spot is the actual source of the problem enough to break it; on the minus side, it might never
common to both the Overall and Main vs. Impact get out far enough to get the fruit either. Many opportu-
stories. In a steadfast character, the Blind Spot repre- nities are lost to it because it hesitates until it is too
sents what drives him to become the agent of the late. -- syn. sureness, definiteness, having no doubts,
common solution to both the Overall and Main vs. total reliability, indisputability, irrefutability,
Impact stories. In either case, although other charac- unmistakability, certitude, conviction
ters may see it quite clearly in the Main and Impact Change Character -- [Character Appreciation] -- The
Characters, neither Main nor Impact can see the Blind Main vs. Impact character who changes his approach
Spot in themselves. or attitude in a story -- The Change Character is the
Both -- [Overview Appreciation] -- both women and men single character who does change in a story in an
will tend to empathize with the main character in this attempt to resolve his personal problem. The Change
story -- Although there is much common ground in a Character must be either the Main Character or the
story that is appreciated equally by women and men, Impact Character but cannot be both. A Change
some dramatic messages speak to one group more Character cannot tell until the end of the story whether
profoundly than the other. One particular area of or not he will change, and even then, a Change Char-
difference is the relationship of female and male acter has no way of knowing whether or not changing
audience members to the Main Character. In some will lead to success or to resolving his personal prob-
stories an audience member will feel Empathy with the lem. However, in every story, either the Main Character
Main Character, as if he/she were standing in the Main or the Impact Character will Change in response to the
Character's shoes. In other stories, an audience other's Steadfastness and become that story's Change
member will feel Sympathy, a less intense emotional Character.
attachment, for the Main Character as if the Main Change -- [Character Dynamic] -- The Main Character
Character is a close acquaintance. The dynamics that changes his essential nature while attempting to solve
control this for women and men are quite different. his problems -- Every Main Character represents one
"Both" indicates that, as a result of this storyform's special character element. This element is either the
dynamics, both male and female audience members cause of the story's problem or its solution. The Main
will tend to empathize with the Main Character. Neither Character cannot be sure which it represents since it is
will sympathize. too close to home. Near the climax of the story, the
Catalyst -- [Variation] -- The item whose presence always Main Character must demonstrate whether he is going
pushes the story forward toward the climax -- The to stick with his original approach in the belief that it is
Catalyst is what creates breakthroughs and seems to the solution or jump to the opposite trait in the belief he
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 8.has been wrong. In "Leap of Faith" stories this will In books, this provides the audience a convenient
occur during a "moment of truth." In "Non-Leap of pause point with an accompanying sense of closure
Faith" stories this will occur over the course of the story when reading intermittently.
and be assessed for Change or Steadfastness in the Character -- [Dramatica Definition] -- In Dramatica, there
end of the story. When a Main Character abandons his are two major divisions of Characters: the Main vs.
original story-long approach for its counterpart, he is Impact Characters and the Overall Characters. In the
said to Change. most frequently told kinds of stories, Main vs. Impact
Change -- [Element] -- dyn. pr. InertiaChange -- an Characters are the smaller group, consisting of only
alteration of a state or process -- Change is the force the Main Character and the Impact Character. Both of
that alters. A characteristic representing change is these are concerned with providing the audience with a
quick to adapt but also cannot leave well enough alone. Main vs. Impact view of the story. There can be, and
It feels that if things have been one way long enough to frequently are, many more Overall than Main vs.
establish a pattern, it is time to change it. -- syn. Impact Characters. An Overall Character is defined as
altering, altering force, modify, reshape, adjust, adapt a specific collection of dramatic Elements or character-
Changing One's Nature (a.k.a. Becoming) -- [Type] -- istics that remains consistent for the entire story. There
dyn.pr. Playing A RoleChanging One's Nature -- are sixty four elements in the Dramatica Structure
transforming one's nature -- Changing One's Nature which represent the building blocks of Characters. All
means achieving an identity with something. This is sixty four elements must be used to fully develop the
different from "playing a role" which merely requires story's argument. To have meaning to an audience, the
posing as something. To change one's nature, one group of elements that makes up each Overall (Objec-
must do more than just pretend to be by mimicking all tive) character must present a consistent viewpoint
the traits of what one wants to become. Rather, one (with regards to the story goal/problem) during the
must also lose all those parts of oneself that are course of the story. In this way the relative attributes of
inconsistent with what one wants to become. "Giving each of these elemental approaches can be clearly
up" a part of oneself is always the hardest part of explored during the course of the story. Sixty four
changing one's nature and the reason so many charac- elements may at first sound too limited to create
ters spend a lot of time "playing a role" without ever interesting characters, but when you consider that the
changing their nature -- syn. embodying, manifesting, number of arrangements of the elements is multiplied
personifying, incarnating, transforming by the way the might be grouped, the total number of
characters that can be created is in the millions. The
Chaos -- [Element] -- dyn.pr. OrderChaos -- random Overall Characters present the story to the audience
change or a lack of order -- Chaos is disorder, random- and the Main vs. Impact Characters allow the audience
ness, anarchy. The Chaos characteristic is brilliant at to participate in the story. Because of this, Main vs.
cutting through a Gordian knot. But then it just keeps Impact Characters are unique in that they do double
cutting every rope it sees until the chandelier falls on its duty by having a special relationship with the audience
head. It "stirs the pot" just to see what will bubble up to and pulling their weight as Overall Characters as well.
the top. -- syn. randomness, anarchy, disorder, form- This is because they are concerned both with the Main
lessness, noncohesion Character's personal problem and also the Overall
Chapter -- [Storytelling] -- A temporal unit of dramatic Story problem.
construction usually employed in books -- Stories Character Dynamics -- [Dramatica Definition] -- Dramatic
contain too much information to be grasped in a single potentials which determine a Main Character's Re-
moment. As a result, the information is doled out over solve, Growth, Approach, and Problem Solving Style. --
time in segments. Each medium gravitates toward its Some characters are used for entertainment purposes
own kind of segments. Books, especially novels, only. Others have dramatic functions they fulfill. Of
usually employ Chapters. Chapters may represent those that have functions, the Main Character is the
complete dramatic explorations of one aspect of the most important for it represents the audience position
overall story or they may be more arbitrary divisions, in the story. As a result, the audience sees more of the
determined by changes in location, changes in central forces that drive the Main Character than of any other.
characters, or changes in storytelling mood or style. In These forces are the Character Dynamics. There are
fact, the Chapters in a single book may vary in what four primary Main Character Dynamics, each of which
defines each one. The principal use of Chapters is to provides the audience with a different kind of informa-
break the unfolding of a story into portions of a like tion about how it relates to that character. Main
nature which are small enough to be considered at one Character Resolve determines if the Main Character
time by the audience. In this way, the audience is able will ultimately Change or Remain Steadfast in regard to
to arrive at an understanding of parts of a story along the central issue of the story. Main Character Growth
the way, rather than waiting until the end of the whole. determines if the audience will, in regard to the Main
In a practical sense, Chapters allow the audience to Character, be waiting for something to Start or Stop in
digest a complete thought before moving on to another.
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 9.the story. Main Character Approach determines if the Classes. The Classes are separated by distinctions
Main Character is a Do-er or Be-er by preference. And between inner and outer states and processes. Situa-
Main Character Problem Solving Style determines if the tion (Universe) and Activities (Physics) represent
Main Character uses Logical (Male Mental Sex) or external states and processes respectively, and Fixed
Intuitive (Female Mental Sex) problem solving tech- Attitudes (Mind) and Manipulation (Psychology) repre-
niques. sent internal states and processes respectively.
Charge -- [Dynamic Term] -- Since there are two of each Though Classes have the same names as
kind of pair in a quad (Dynamic, Dependent and Throughlines, they represent only a structural ordering
Companion), it is useful to have a way of identifying of semantic terms and are not the same as
each one by its position in the quad. Dramatica uses Throughlines which are more dynamic story points
the concept of a dramatic CHARGE to accomplish this. created by matching a Class with one of the four
As with electrical charges, positive or negative does not throughlines.
mean one is good and the other bad but simply that Closure -- [Variation] -- dyn.pr. DenialClosure --
they have opposite attributes. So in a quad the Dy- bringing something to an end -- Closure can be seen in
namic (diagonal) pair that is negatively charged simply two ways. One, it can be an ending. In this sense, it
means that it runs from the upper right item in the quad prevents what has happened from being changed; it
to the lower left unit of the quad. The other Dynamic protects a memory or a situation because the window
pair is referred to as positively charged. The top of opportunity for change has ended. In the other
Companion (horizontal) pair is positive; the bottom sense, Closure can be seen as a continuance. This is
Companion pair is negative. The left Dependent because a process made into a closed loop will just go
(vertical) pair is positive; the right Dependent pair is on forever, repeating the same course. In some stories
negative. By using the CHARGE method, any pair in Closure settles all the dramatic potentials to show that
any quad can be directly and specifically referred to. the issue of the story has been resolved. In other
Choice -- [Variation] -- dyn.pr. DelayChoice -- making stories, Closure is used to show that even though the
a decision -- Choice is simply a decision as to which is immediate problem has been resolved, the volatile
the best path toward resolving a problem. A character relationships among the characters is never-ending.
will ponder all the information and factor in all his Closure is useful in letting one know when the job is
feelings and arrive at a decision. Sometimes a charac- done. Negatively, Closure tries to bring everything to a
ter will choose before all the information is in. This can conclusion even if it is a continuously growing process
lead him to take steps that may ultimately prove to be that is completely open-ended. The attempt to stop
counter-productive or even self-destructive. On the such an evolution would be either fruitless or disas-
other hand, such intuitive leaps can bypass a number trous. But is a process closed or not? When is a
of obstacles on the way to a story's conclusion. Still, career at an end? -- syn. finishing, completion, resolu-
"snap judgments often lead to regrets for those whose tion, recursive
only exercise is jumping to conclusions." -- Dramatica Co-Dynamic Pair -- [Structural Term] -- When one of the
fortune cookie -- syn. decision, selection, determina- two dynamic pairs in a quad is selected as the "Refer-
tion, pick ence Pair," the remaining dynamic pair is referred to as
Circumstances -- [Variation] -- dyn.pr. SituationCircumstances -- the relationship of oneself to the Commitment -- [Variation] -- dyn.pr. ResponsibilityCommitment -- a decision to stick with something
character feels about his environment. Whereas regardless of the consequences -- A commitment forms
Situation is rated in terms of satisfaction, Circum- the essence of the steadfast character. When a
stances are rated in terms of fulfillment. Emotion, character makes a commitment, it is a decision not to
therefore, is the standard of measurement a character quit regardless of the obstacles that may come. This
uses to evaluate his Circumstances. Often a character allows the character to accept much higher costs on
must accept unfulfilling Circumstances because he the way to a goal than he would if he re-evaluated
needs the benefits of the Situation. Or a character may every time something went wrong. A problem arises,
accept an unsatisfying Situation because it comes with however, when one of those obstacles turns out to be
fulfilling Circumstances. Over the course of a story, the impassable. If a character reaches this point, he
balance between the two measurements can vary cannot achieve the goal. But since he is Committed,
greatly. -- syn. how things stand emotionally, emo- he does not re-evaluate and instead continues to beat
tional evaluation of the environment, value of existing his head against a brick wall. -- syn. dedication,
conditions, relationship to others devotion, steadfastness, zeal
Class -- [Structural Term] -- The broadest, most genre-like Companion Pair -- [Structural Term] -- In any given quad,
classification of a story's structural nature -- The the two top items share a relationship between them in
possible places where problems can exist can be the same way the bottom two share a relationship.
divided into four areas, and we call these areas the four What separates the two pairs is what dramatic focus
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 10.they create. Each pair in each quad will be focused in ing a Plan clarifies the answer -- syn. originating,
a slightly different place, creating a gradual shift in the inventing, devising, engendering, hatch ideas
model from one point of view to its opposite. In many Conceptualizing (a.k.a. Developing A Plan) -- [Type] --
quads, the top pair will appear to be more oriented dyn.pr. ConceivingConceptualizing -- visualizing
toward the environment in comparison to the bottom how an idea might be implemented -- Conceptualizing
pair which is more oriented toward the mind. Either the means coming up with a practical implementation of an
top or bottom pair can be referred to as a Companion idea. It is not enough to simply have the idea. To
Pair, meaning that the two items that make up the pair conceptualize, one must develop an actual mental
are companion rather than in conflict. model of how such an idea might be made manifest. In
Complex Characters -- Whenever even a single element other words, one might have an idea to build a spa-
is added or removed or swapped in an Archetypal cious house. But to conceptualize the house one must
character, that character becomes Complex. The more imagine everything that makes up the house -- the
elements that differ from the Archetypal, the more design, the layout, the colors and textures, everything
complex the character becomes. Characters in a story that is essential to understanding what that specific
need not all be Archetypal or all be complex. Making house is. A character that deals with conceptualizing
some characters more complex than others is a would be well aware of the kind of solution that will
valuable storytelling tool that allows for more explora- eliminate the problem but spend his time trying to
tion of certain areas of the story while underplaying devise a specific way of achieving that solution -- syn.
others. visualizing, imagining, envisioning, visualizing imple-
Conceiving (a.k.a. Conceiving An Idea) -- [Type] -- dyn.pr. mentation
ConceptualizingConceiving -- coming up with an Concern -- [Type] -- The principal area of concern in a
idea -- Conceiving is the process of arriving at an idea. throughline -- The category or nature of that for which
If there were no artificial light in the world, one might the characters in a given throughline are most anxious,
conceive the need for some form of electric torch. That eager, or which they hope to protect or affect.
would be conceiving. But the design of an actual Conditioning -- [Variation] -- dyn.pr. InstinctCondi-
incandescent bulb versus a fluorescent one would tioning -- responses based on experience or training --
require conceptualizing a specific implementation of the Conditioning describes learned responses to various
idea one has conceived. Conceiving need not come stimuli. Similar to Instinct in that the Consciousness in
before conceptualizing. For example, a common not involved until after the fact, Conditioning differs
dramatic technique is to give a character a very clear insofar as it was not inherent in the basic nature of a
mental image of an object or arrangement that holds character but acquired though training or familiarity to
the solution to the story's problem. But the character impose its triggers on the mind. Since Instincts are
does not know the solution lies in the intrinsic and Conditioning is learned, they frequently
conceptualization. It is only when he finally conceives come in conflict over how to respond. This concept
of the need for a particular kind of solution that he alone has provided the theme for many intriguing
realizes he had the answer all along. Simply put, stories. -- syn. habituation, trained response, accus-
Conceiving defines the question, Conceptualizing tomed response, adaptive adjustments
clarifies the answer -- syn. originating, inventing,
devising, engendering, hatch ideas Confidence -- [Variation] -- dyn.pr. WorryConfidence -
- belief in the accuracy of an expectation -- Confidence
Conceiving An Idea (a.k.a. Conceiving) -- [Type] -- dyn.pr. points to the future. It is not a rating of the present
Developing A PlanConceiving An Idea -- coming situation but a positive evaluation of how things will turn
up with an idea -- Conceiving An Idea is the process of out. Confidence, therefore, is a great motivator in
arriving at an idea. If there were no artificial light in the unknown situations. This is because Confidence is not
world, one might conceive the need for some form of based on predicting a situation but on the experience of
electric torch. That would be conceiving. But the past situations. The downside is that Confidence
design of an actual incandescent bulb versus a fluores- erodes the motivation to prepare for the unexpected. If
cent one would require developing a plan for a specific past experience has always shown that even the most
implementation of the idea one has conceived. Con- threatening disasters have worked themselves out,
ceiving An Idea need not come before developing a then one will ignore potential danger that may turn out
plan. For example, a common dramatic technique is to to be real. We see this in history time and time again,
give a character a very clear mental image of an object such as the way the people of Pompeii remained in
or arrangement that holds the solution to the story's their homes while Vesuvius bellowed smoke for the
problem. But the character does not know the solution umpteenth time. -- syn. hopeful prospects, positive
lies in the conceptualization. It is only when he finally expectations, faithful anticipation, optimism
conceives of the need for a particular kind of solution
that he realizes he had the answer all along. Simply Conscience -- [Element] -- dyn.pr. TemptationCon-
put, Conceiving An Idea defines the question, Develop- science -- forgoing an immediate benefit because of
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 11.future consequences -- Conscience is the motivation has a negative effect upon the Protagonist's quest, it is
that negative consequences are unavoidable if a often mistakenly thought to be the Antagonist. In truth,
present desire is acted upon. Conscience can serve a the Contagonist only serves to hinder the Protagonist in
character well in overcoming strong transient desires his quest, throwing obstacles in front of his as an
that would bring disasters upon him. If the negative excuse to lure him away from the road he must take in
consequences are purely imaginary, however, Con- order to achieve success. The Antagonist is a com-
science constricts the free expression of one's heart .-- pletely different character, diametrically opposed to the
syn. forgoing for fear of consequences, forgo, forbear- Protagonist's successful achievement of the goal
ance, temperance, abstinence, restraining oneself Contemplation (a.k.a. Conscious) -- [Type] -- dyn.pr.
Conscious (a.k.a. Contemplation) -- [Type] -- dyn.pr. MemoriesContemplation -- considerations -- When
MemoryConscious -- considerations -- When one one has all the facts, knows all the impact -- both
has all the facts, knows all the impact -- both positive positive and negative; when one is fully aware of
and negative; when one is fully aware of detrimental detrimental consequences and still decides on the
consequences and still decides on the poor course of poor course of action, there is something wrong with
action, there is something wrong with the way one the way one arrives at conclusions. This is the subject
arrives at conclusions. This is the subject of stories of stories focusing on Contemplation. The key here is
focusing on the Conscious. The key here is not to not to redefine who a character is but to lead him to
redefine who a character is but to lead him to relearn relearn how to weigh an issue so his conclusions are
how to weigh an issue so his conclusions are less less destructive to himself and/or others. -- syn. con-
destructive to himself and/or others. -- syn. consider- siderations, sensibilities, cognizant, ability to consider,
ations, sensibilities, cognizant, ability to consider, sensible, informed contemplation, contemplation
sensible, informed contemplation, contemplation Control -- [Element] -- dyn.pr. UncontrolledControl --
Consequence -- [Type] -- The result of failing to achieve a method based on organization and constraint -- The
the goal -- For every goal there is a consequence. Control characteristic causes a character to methodi-
Consequence describes the results of failing to achieve cally direct its actions and deliberations to the specific
the goal. This predisposes the goal to be something purpose at hand. This leads to a great degree of focus.
desirable but this is not necessarily true. Sometimes The drawback is that when one focuses, one loses
the difference between goal and consequence can be peripheral vision. The purpose can become so all
one of choosing the lesser of two evils. More optimisti- consuming that many peripheral yet essential parts of
cally put, goal and consequence might be measures of the equation are ignored until it is too late to save the
magnitude of two favorable outcomes. Sometimes the whole project -- syn. regulate, organized manage-
Consequence will occur if the goal is not met, other ment, steer, conduct, guide, manipulate, focused
times the consequence already exists and can only be organization
eliminated by meeting the goal. So if they are close in Cost -- [Type] -- the price that must be paid while meeting
their negative or positive value, it may be difficult to be the requirements of the goal -- Requirements are not
sure which is the consequence and which is the goal. always met just by applying effort. Sometimes they
An easy way to be certain is to see which one the involve trade-offs necessitating the acceptance of loss
protagonist hopes to achieve. in another area in order to meet the requirement. The
Consider -- [Element] -- dyn.pr. ReconsiderConsider - damages sustained in the process of meeting the
- weighing pros and cons -- A Consideration is the act requirement are the Cost of achieving the goal. Cost
of deliberation. A character possessing the Consider- should not be confused with Consequence. Conse-
ation characteristic keeps pondering an issue, running quence is a state of things that either exists and will be
it over in his mind. Once he has latched onto a topic, vanquished by the goal or will come to exist unless the
he refuses to let it go until it is resolved. This trait aids goal is achieved. In contrast, Cost builds over the
in keeping one's motivations impervious to erosion. On course of the story all the way to the climax. Some-
the other hand, the Consideration characteristic may times by the end of the story, the consequence of not
not let sleeping dogs lie. Therefore it can lead to achieving the goal is far less than the cumulative cost
stirring up all kinds of negative reactions. -- syn. of achieving it. If there is a single large cost to be paid
deliberate, contemplate, ponder, weigh in the mind, right at the moment of the climax, the Main Character
mull may decide he has paid enough already and determine
Contagonist -- [Archetype] -- An Archetype representing the goal is just not worth it, electing to stop trying. If
the motivations of temptation and hinder -- A concept there is no large cost at the end, the Main Character
unique to Dramatica, the Contagonist is the character may decide to keep on going for an insignificant goal
that balances the Guardian. If Protagonist and Antago- motivated by the thought of how much they already
nist can archetypically be thought of as "Good" versus invested. In the words of the songwriter/singer Don
"Evil," the Contagonist is "Temptation" to the McLean, "The more you pay, the more it's worth."
Guardian's "Conscience." Because the Contagonist Critical Flaw -- [Variation] -- The Main vs. Impact Charac-
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 12.ter trait that inhibits or undermines the effectiveness of than what it represents. Dramatica takes a different
that Main vs. Impact Character's Unique Ability -- To view of Action and Decision. Either Actions force the
balance the Main Character's extraordinary status need for Decisions or Decisions force the need for
conveyed by his Unique Ability, he must also be shown Actions in order to advance the plot. Over the course
to be especially vulnerable in one area as well. This of the story as a whole (independent of the nature of
vulnerability is called his Critical Flaw. The Main the Main Character) if Decisions precipitate the pro-
Character's Critical Flaw is his Achilles heel that gression of the plot, it is a Decision story.
prevents him from being too one-sided. Just as with Deduction -- [Element] -- dyn.pr. InductionDeduction
Unique Ability, the Critical Flaw can be quite mundane -- a process of thought that determines certainty --
as long as it can threaten him with failure from an Deduction is the process of thought that arrives at a
unprotected direction. The specific Critical Flaw must determination of what is by limiting out all that cannot
be unique to the Main Character in the story. However, be. It has been said, "When you have ruled out the
the more common the Critical Flaw is to the audience, impossible, whatever is left, no matter how improbable,
the more it will identify with the Main Character's must be true." The characteristic representing Deduc-
predicament. In Start stories, the Critical Flaw inhibits tion will arrive at conclusions by eliminating all compet-
the Main Character from using his Unique Ability. In ing theories that have holes until only one remains.
Stop stories, the Critical Flaw undoes the work done by This is fine for cutting away the nonsense and discov-
the Unique Ability after the fact. Only when the Main ering understanding, unless the competing theories
Character learns to either Start or Stop as required by were not all the available theories and the real answer
the story can the Critical Flaw be avoided, allowing his was never even considered. Also, Deduction often fails
Unique Ability to solve the problem. The Impact to look for situations in which alternative truths exist. A
Character in any story also has a Unique Ability which famous story had a detective narrowing down murder
makes him uniquely qualified to thwart the Main suspects only to discover that they all did it! -- syn.
Character. But in his character as well is a Critical drawing a conclusion, process of elimination, demon-
Flaw which prevents him from just totally overwhelming strative reasoning, narrowing to a single point
the Main Character. This is again a trait which is
unique to this particular character, but its effects are felt Deficiency -- [Variation] -- dyn.pr. PermissionDefi-
in a different area than the Main Character Critical Flaw ciency -- motivation based on lack -- When a character
because of the Impact Character's different purposes. lacks something in the sense of having Deficiency, he
may not even comprehend what he lacks. But this lack
Crucial Element -- [Element] -- The single dramatic drives him and fulfilling the lack would end the drive
element that links the Overall and Main vs. Impact caused by the Deficiency. Deficiency is closely related
stories together. The Main Character's decision to Need, but where Needs are always defined by their
regarding the Crucial Element ultimately leads to an context and the purpose which makes them seem
Outcome of Success or Failure and a Judgment of necessary, Deficiency does not require a purpose.
Good or Bad. When a character lacks, he is NOT content with what
Current -- [Dynamic Term] -- The flow of a process -- One he has and REQUIRES something more in order to
way to measure the relationship of items in a quad is to become content. Fulfilling a lack may appear to be the
classify them as Potential, Resistance, Current, and last thing a character Needs because it does not lead
Outcome (or Power). In this manner, we can see how to his purpose, but once the lack has been taken care
dramatic components operate on each other over the of, a character may find his purpose has changed and
course of the story. Current simply means the flow of a his Need has been eliminated. -- syn. inadequacy,
process. When a dramatic current exists it does not insufficiency, deficit, unfulfilled need
necessarily create change. Rather, until it is directed to Delay -- [Variation] -- dyn.pr. ChoiceDelay -- putting
a specific purpose as Power, the current will have no off until later -- Delay is the decision not to make a
impact at all. So in a quad, assigning one of the items decision. Whenever the options are too closely bal-
as the current does not mean it will alter the course of anced to see a clear path, whenever there is not
the story. Instead, it might function to encourage enough information to be confident of an outcome, a
purpose by providing a ready motivation. This is a character will Delay. The purpose is to wait until one
useful tool for Authors since it allows for the subtle gathers more information or until the situation changes
relationship of unused, inferred, threatened, or antici- to present a clear best course. But how long does one
pated dramatic interactions that shape the fabric of a wait? And what if something distracts the character
story in ways other than conflict. and he forgets to check and see if things have
Decision -- [Plot Dynamic] -- in terms of the objective plot, changed? Now the character has left a problem
decisions force actions -- All stories have both Action unresolved, and unless it intrudes upon his thinking, it
and Decision. Typically, one defines a Decision story will never be thought of again. Yet deep within him, he
as having more intense Deliberation than Action. This will be influenced to avoid what created that problem or
view is overly influenced by how the story is told rather to take steps to protect against its recurrence. Until the
Copyright (c) 2001 Screenplay Systems Inc. -- www.dramatica.com -- www.screenplay.com 13.You can also read
