Uncontrolled • [Element] • dyn.pr. Control<–>Uncontrolled • directionless, unconstrained • The character representing Uncontrolled spreads himself very thin by expending his energy and motivation in all directions at once. As a result, he is fully involved in his environment, which covers all the bases. Yet, because his attention is randomly distributed, there is not single direction to his thrust. Therefore, the Uncontrolled character frequently spends a lot of energy getting nowhere. • syn. unregulated, disorganized, unfocused, rampant, unguided, open, frenzy

From the Dramatica Dictionary

Unending • [Element] • dyn.pr. Ending<–>Unending • continuing without cessation • The Unending characteristic sees nothing as ever coming to completion. What others may see as an end, this characteristic sees as a change of direction. For example, obtaining a diploma is seen not as an end of college but as another step in one’s career (which is Unending). This has an advantage of “never saying ‘die’,” which helps the motivation stay alive to keep trying. On the other hand, seeing a bad thing as unending can rob one of motivation. Also, when something is really over, the character representing Unending can’t see it. This might be a former relationship or a current job that he takes for granted. • syn. continual, ongoing, perpetual, ceaseless, interminable, incessant, perennial

From the Dramatica Dictionary

Type • [Structural Term] • The 16 terms which are grouped directly beneath the Classes which most strongly affect Plot • There are 16 Types in the Dramatica structure, four to each Class. The Classes each represent a different point of view and the Types in that Class represent a more refined exploration of that point of view. In a sense, Types describe the basic categories of what can be seen from a given point of view. Just as Domain level appreciations create genre-like brush strokes in the story structure, Type level appreciations determine the nature of the plot.

From the Dramatica Dictionary

Truth • [Variation] • dyn.pr. Falsehood<–>Truth • that which is actually correct • Truth is more than facts and accuracy. Truth is meaning. Whenever someone is quoted out of context, what is reported may be factual and may be accurate but it is not Truthful. Meaning depends upon intent and purpose. That is the beauty of the legal system — that even if someone is caught red-handed, the jury can acquit because it feels there were mitigating circumstances. The problem with Truth is that it is an interpretation and therefore open to debate. One person’s Truth is another’s Falsehood. • syn. honesty, correct information, correct notion, verity

From the Dramatica Dictionary

Trust • [Element] • dyn.pr. Test<–>Trust • acceptance without proof • To Trust is to accept without trial. Whether a concept, relationship, person, or mechanism, it will be accepted by the character possessing the Trust characteristic without supportive evidence. This helps him to get on with the job at hand in the most efficient manner, but opens him up to disastrous surprises when an assumption is proven incorrect at a critical moment. • syn. untried acceptance, untested belief in, accept implicitly, assumed dependability, unquestioned reliance on

From the Dramatica Dictionary

Timelock • [Plot Dynamic] • the story climax is brought about by a time limit • If not for the story being forced to a climax, it might continue forever. When a story is brought to a conclusion because the characters run out of time, it is said to contain a Timelock. As an analogy, a story might be thought of as the effort to find the solution to the story’s problem which is hidden in one of the rooms of a mansion. Each room contains a clue to the actual location of the solution. The Main Character is told he may search as many rooms as he likes in five minutes. At the end of five minutes he is given a choice. Based on the clues he has already found, he must decide if the solution is in one of the rooms he already searched or in one of the rooms he has not yet searched. Either choice may lead to success or failure, but because running out of time forced the choice it is a Timelock story. The choice represents the Timelock which brings the story to a close and forces such appreciations as Main Character Resolve (Change or Steadfast), Outcome (Success or Failure), and Judgment (Good or Bad).

From the Dramatica Dictionary

Timelock versus Optionlock • The two kinds of limits that can force a story to its climax , running out of time or running out of options • Stories would go on forever unless they were limited in some way, forcing an end to action and/or decision. One way to bring a story to a conclusion is with a timelock which limits how long the characters have to solve the problem. The limit might be a bomb set to go off, the timing mechanism on a safe, or the poison that takes effect in 24 hours- anything that has a specific deadline and needs to be prevented or achieved. The other way to force a story to end is with a optionlock which limits how many things the characters can try to solve the problem — trapped aboard a spaceship with a vicious creature with no one coming to the rescue, trying to escape from Alcatraz, struggling to save a relationship — anything that has a specific scope and needs to be resolved. So in short, in a timelock the characters run out of time, in a optionlock the run out of options. As a side note, timelocks and optionlocks can co-exist but only one can be the real limit that forces the climax.

From the Dramatica Dictionary

Throughline • [Dramatica Term] • A sequence of story points within a single perspective• The Objective Story, Subjective Story, Main Character, and Obstacle Character Domains each represent a different perspective on a story’s problems. Each own distinct sequence of story points which must be consistent both within the perspective and also in conjunction with the other perspectives in the story as a whole.

From the Dramatica Dictionary

Threat • [Variation] • dyn.pr. Security<–>Threat • an evaluation of potential negative forces • Threats are indicators or warnings that danger lurks. Avoiding real danger can be enhanced by acting at the first sign of a Threat. However, reading the indicators is a subjective endeavor. One’s biases and experiences may lead to inaccurate assessments of Threats. They may be real or imagined. When a character avoids actions or behaviors because he perceives a Threat that is truly imaginary, he might stunt his own progress toward his purpose based on an unreal fear. • syn. perceived danger, indication of peril, perceived vulnerability, warning, detected hazard

From the Dramatica Dictionary

Thought • [Element] • dyn.pr. Knowledge<–>Thought • the process of consideration • When a character represents Thought, he illustrates the process of consideration. Unlike the logic element that is only concerned with arriving at a conclusion via reason, Thought deliberates both logical and emotional aspects of a problem, not particularly to decide an issue so much as to examine it from all perspectives. This has the advantage of illuminating every side of an issue, but has the potential disadvantage of Thought becoming an endless loop where consideration runs round in circles, chasing its mental tail and never coming to rest in a decision. • syn. the process of consideration, thinking, contemplation, mental attention, running over in your mind

Thought • [Variation] • dyn.pr. Knowledge<–>Thought • the process of consideration • Thought is not always directed. Often it wanders, experiential and without conscious purpose. Thought might be about a topic or simple random musings or creative daydreaming or inspiration. At its most essential level, Thought is simply the mental force of change that rearranges the inertia of knowledge. • syn. consideration, contemplation, ponderence, musing, reflection

From the Dramatica Dictionary