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 Objective story lines. • syn. perception of self, self image, self identity, self attribution

From the Dramatica Dictionary

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

From the Dramatica Dictionary

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

From the Dramatica Dictionary

Security • [Variation] • dyn.pr. Threat<–>Security • an evaluation of one’s defenses and 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

From the Dramatica Dictionary

Scene • [Dramatica Definition] • 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.

From the Dramatica Dictionary