Appreciations • story points; dramatic concepts • Appreciations 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: Objective Story, Main Character, Obstacle Character, Subjective Story. Each viewpoint has its own unique Appreciations, though they parallel and match item for item the Appreciations from another viewpoint. In addition, some Appreciations 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 Appreciations will cover all the topics and viewpoints necessary to fully explore an issue central to them all. Common Appreciations include such dramatic items as Goal, Requirements, Problem, Concern, and Outcome.

Appraisal • [Variation] • dyn.pr. Reappraisal<–>Appraisal • a limited initial assessment • Not everything requires a complete evaluation. In fact, we are assualted by many new observations that we cannot possibly evaluate each fully. Instead, we make an Appraisal of what we encounter and use that limited assessment to determine our response, if any. This approach as the advantage of allowing us to deal more or less effeciently with an onslot of iimpressions and experiences. Of course, since this Appraisal is based on limited evidence, the real picture may be quite different than the thumbnail sketch. Yet, people are strongly influenced by first impressions and can become attached to an Appraisal without ever reconsidering it to see if it was incomplete or if things have changed. • syn. first impression, preliminary understanding, initial approach, initial assimilation.

Apparent Work • [Overview Appreciation] • In an Apparent Work story, the Goal will fail if the Main Character stays on course. For the Goal to succeed he must adopt a new path. Of course, the Main Character cannot see the future and therefore can never be absolutely sure if he should change or not. That is why Main Characters must often make a “leap of faith” at the moment of climax and decide to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his Resolve of Changing or Remaining Steadfast, however it is still must be made clear which way he’s gone by the end of the story. In stories where the Main Character Remains Steadfast and fails as a result, the assessment that only Work was needed was merely Apparent, not Actual

Apparent Dilemma • [Overview Appreciation] • The Main Character’s decision to change results in failure • In an Apparent Dilemma story, the Goal will fail if the Main Character adopts a new path. For the Goal to succeed he must stay on course. Of course, the Main Character cannot see the future and therefore can never be sure if he should change or not. That is why Main Characters must often make a “leap of faith” at the moment of climax and decide to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his Resolve of Changing or Remaining Steadfast, however it is still must be made clear which way he’s gone by the end of the story. In stories where the Main Character Changes and fails as a result, the Dilemma was merely Apparent, not Actual.

Antagonist • [Archetype] • An archetypal character who is in every way opposed to the Protagonist • Antagonist and Protagonist are diametrically opposed. What the Protagonist pursues, the Antagonist seeks to avoid or prevent. Together, Antagonist and Protagonist form a Dynamic Pair centered around the story’s Goal. In order for one to succeed the other MUST fail.

Analysis • [Variation] • dyn.pr. Strategy<–>Analysis • evaluation of the situation and/or circumstances • Analysis sits on one side of planning and strategy sits on the other. Analysis is the interpretation of available data in order to establish the approach most likely succeed. If the Analysis is faulty, it limits the potential of a Strategy. If a Strategy is faulty, it limits the effectiveness of Analysis • syn. evaluation, examination, breakdown of situation, close investigation, scrutinization

Actuality • [Element] • dyn.pr. Perception<–>Actuality • objective reality; the way things are • Actuality refers to the true state of things. A character who represents Actuality sees right through image and pretense, preferring to get to the heart of the matter. It also will not accept foregone conclusions until they have materialized. It feels that without substance there is no meaning. The problem is that anything that does not meet its strict definitions is ignored as irrelevant. It is often surprised when the undefined or unformed turns out to be very real • syn. the true state of things, objective reality, factuality, demonstrable existence, demonstrable reality

Actual Work • [Overview Appreciation] • The Main Character’s decision to remain steadfast results in success • In an Actual Work story, the Main Character must stay on course in order for the Goal to succeed. If he adopts a new path, the Goal is doomed to failure. Of course, the Main Character cannot see the future and therefore can never be sure if he should change or not. That is why Main Characters must often make a “leap of faith” at the moment of climax and decide to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his Resolve of Changing or Remaining Steadfast, however it is still must be made clear which way he’s gone by the end of the story. In stories where the Main Character Remains Steadfast and succeeds as a result, the need for Work, was Actual, rather than merely Apparent.

Actual Dilemma • [Overview Appreciation] • The Main Character’s decision to change results in success • In an Actual Dilemma story, the Main Character can must adopt a new path in order for the Goal to succeed. If he stays on course, the Goal is doomed to failure. Of course, the Main Character cannot see the future and therefore can never be sure if he should change or not. That is why Main Characters must often make a “leap of faith” at the moment of climax and decide to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his Resolve of Changing or Remaining Steadfast, however it is still must be made clear which way he’s gone by the end of the story. In stories where the Main Character Changes and succeeds as a result, the Dilemma was Actual, rather than merely Apparent.

Action • [Plot Dynamic] • in terms of the objective plot, actions force decisions • All stories have both Action and Decision, however one will take precedence over the other. Traditionally, one might define an Action story as having more Action or more intense Action than a Decision story. This view is overly influenced by how the story is told rather than what it represents. Dramatica takes a different view of Action and Decision. Either Actions force the need for Decisions or Decisions force the need for Actions in order to advance the plot. Over the course of the story as a whole, if Actions precipitate the progression of the plot, it is an Action story. The question to ask in regard to any particular story is which comes first to move the story along?–not which is there more of, for even if Action kicks things off, a small Action may be followed by great quantities of deliberation. In such a story, although Action is the Driver, one would hardly call it an Action story in the traditional sense. Action stories will begin with an Action, be marked at the beginning and end of every Act by an Action, and will end with a climactic Action. In an Action story, the story will eventually slow and dwindle until another Action occurred.