Author Archives: Melanie Anne Phillips

Half-life of the Narrative Difference Engine

This morning/s thoughts on narrative:

1. In the real world, narratives exist in the caustic solution of society. They either continually replenish themselves or dissolve into a sea of memes.

2. Narrative structure operates as a difference engine, but one made of magnets rather than gears. As one turns, the other adjust due to polar attraction, maintaining narrative integrity. If, however, sufficient speed and/or force is applied to the turning of the magnets, they may slip past the poles of others without causing a correspond shift; this is the beginning of justification.

Indentifying Your Main Character

wp602ef169_06Identifying Your Main Character

The Main Character represents the reader’s position in the story, but this is not always the Protagonist. While in a football game the Protagonist may be the quarterback, a story could be told through the eyes of any of the players on the field. The Protagonist is defined as the character who is the prime mover of the effort to achieve the story goal logistically. The Main Character, however, is the character with whom the readers most identify and around whom the passion of the story seems to revolve. It is the Main Character who must grapple with a personal or moral issue and is the center of the story’s message.

In this step, even if you are already completely sure of who your main character is, you’ll examine each character and look at the story through his or her eyes to see if there might be an even stronger viewpoint from which your readers might experience your story first hand.

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Character Justification

Justification is the process of changing context to change meaning.  We see a clear example of this when a child comes up with an excuse for some small transgression, or even when someone says, “he made me do it.”

Justification is actually a good trait for survival or we wouldn’t have it.  It allows  us shift our point of view in space or time so we can perceive potential solutions to problems that are not visible from the original perspective.

The story of the Gordian Knot shows how spatial context can be shifted to find a solution to a seemingly unsolvable problem.  This exact same dynamic was employed in Raiders of the Lost Ark when the assassin comes at Indy with a sword and our hero just pulls his gun and shoots him.   Another example is “Don’t raise the bridge, lower the river.”

Temporal justifications are illustrated by the little pig who built his house of brick – not for a current problem but a potential future one, or every squirrel that buries nuts for the winter, rather than eating them all now.  Every retirement fund or medical insurance policy is a justification that actually creates difficulties in the present by limiting resources in expectation of a future life (which may never materialize).

All justifications are not of such magnitude or import, however.  Imagine, for example, a person, we’ll call him Joe,  who has a friend come to visit for the weekend.  Joe has a great time with the visit but in the morning when he goes to water his plants, he discovers his friend has parked in such a way to block easy access and he must walk around the long way to do the job.

Joe’s first reaction is mild anger at his friend for the inconvenience.  Almost instantly, he regrets feeling that way as he knows his friend was unaware of the issue.  So, he is able to dissipate some of his negative feelings by re-contexualizing the issue spatially with the notion that he would rather have his friend visit and have the problem than have his friend not visit.

But, this only balances the inequity by saying the benefits outweigh the costs.  So, Joe is still left with negative feelings due to the emotional value of his friend’s visit now being lessened by deducting the emotional cost of the inconvenience.  So, Joe, while watering, also tries a temporal justification by considering that he is a little out of shape and the extra exertion will do him good in the long run.

Joe now feels good about the extra walk and has fully eliminated the negative feelings and now has a positive cost-free perspective of both his friend’s visit and of the inconvenience.

Problem is, since the inequity has now been eliminated, the potential for further motivation is now also removed.  The end result is that Joe will not now consider buying a new hose to avoid the long walk around, which would have solved the problem once and for all for every visitor he receives in the future.

Bottom line – justification is neither good nor bad, except in context.  It may eliminate dissonance, but it also eliminates motivation.  If it perpetuates dissonance to continue motivation, it may, in time prove to be either a goal achiever or the preventer of a different, more important goal.

Understanding the mental mechanisms by which justifications occur can provide insight into our characters, furnish them with believable motivations, and offer valuable understanding for our readers/audience through the voice of the Wise Author.  And, by turning this understanding upon ourselves, we can learn to recognize these mental patterns within ourselves as they happen, allowing us to make a conscious decision as to the best perspective for our purposes, rather than subconsciously falling into habitual patterns regardless of their effectiveness in the current situation and circumstances.

Dramatica Needs Your Help!

Writing Tips - Master CoverDramatica needs your help!

I need some folks to compile my writings on Dramatica into topic-oriented documents so I can publish them in paperback and and Kindle. No pay involved, but you get to have your theory questions answered, you get a free copy of the finished paperback and it will help document all these ideas so writers can get to them.

All you do is go to articles I have on the internet that I direct you to, then gather them all in a word document in the best order for understanding, eliminating any duplicates or too-similar essays. I’ll take it from there. We may have up to 100 topic-oriented compilation books out of all this material!

If you are interested, let me know and I’ll direct you to a topic to start with. No obligation if you try it and don’t want to continue. I can use as many folks as would like to help. Thanks!

Contact me at books@storymind.com

Write Your Novel Step by Step (22) – Your Characters’ Points of View

Write Your Novel Step By Step (shadow)Step 22 Your Characters’ Points of View) is now available here.

You know how you see your story, but what does it look to your characters? In this step, you’ll have each of your characters write a paragraph in his or her own unique voice describing how your story looks from their point of view within it.

Write Your Novel Step by Step (21) – Auditioning Your Cast

Write Your Novel Step By Step (shadow)Step 21 (Auditioning Your Cast) is now available here.

In this step you interview your potential cast members and have each character write a short bio of himself or herself, all of which will become part of their dossier.

In steps to come, you’ll use these dossiers to determine which characters you want to hire for your novel’s cast.