Theory • [Element] • dyn.pr. Hunch<–>Theory • an unbroken chain of relationships leading from a premise to a conclusion • A Theory is an unbroken web of relationships that describes a mechanism. To be a theory, the actual mechanism of each relationship in the Theory must be known as well. Unless it is understood how point A gets to point B, it might just be coincidental. For example, if two completely different and separate mechanisms are working in the same area, it may appear that one is causing a certain effect when it is really the other. Developing Theories gives the character representing Theory the ability to understand and predict how things work and fit together. The drawback is that he will not accept an obvious relationship unless all its steps can be discovered. As a result, many “common sense” approaches and understandings are not used, despite their proven value. • syn. structured explanation, concrete hypothesis, systematized descriptive knowledge, description of linear connections

From the Dramatica Dictionary

Theme • [Dramatica term] • an argument about the relative worth of different value standards as they are compared in all appropriate contexts • Theme is developed by creating varying perspectives within a story on an issue which is central to the story. Presenting these perspectives in such a way that the most appropriate one, according to the author, moves to the forefront conveys theme to an audience. Theme occurs in both progressive and static elements of a story’s structure and is a consideration in all four stages of communication (Storyforming, Storyencoding, Storyweaving, and Reception).

From the Dramatica Dictionary

Test • [Element] • dyn.pr. Trust<–>Test • a trial to determine something’s validity • To test is to try out a supposition to determine if it is correct. “Run it up the flagpole and see if people salute it” is the concept here. Any explanation that makes sense has the potential to be correct or incorrect once it is actually tried in “the real world.” The Test characteristic will always want to try things out before using it. This can weed out faulty items before they break down when one relies on them. However, it can also waste time when it is of the essence or waste one of the three wishes just to see if it works. • syn. trial of validity, examination, audit, inspection, scrutinization

From the Dramatica Dictionary

Tendency • [Overview Appreciation] • the degree to which the Main Character feels compelled to embrace the quest • Not all Main Characters are well suited to solve the problem in their story. They may possess the crucial element essential to the solution yet not possess experience in using the tools needed to bring it into play. Like most of us, Main Characters have a preference for how to go about solving problems. Some prefer to immediately take action. We call these characters Do-ers. Others prefer to deliberate first to determine if the problem might go away by itself or perhaps they can adapt to it. We call these characters Be-ers. When a Do-er finds himself in a story driven by Action he is quite at home. Similarly, when a Be-er finds himself in a Decision driven story, he is quite content. Both of these combination lead to Main Characters who are more than Willing to accept the quest for a solution to the story’s problem. They are comfortable with the tools they will be required to use. But if a Do-er is placed in a Decision story or a Be-er is drawn into an Action story, the Main Character will be very Unwilling to participate in the quest at all for the tools he must use are not in his area of experience. Willing Main Characters force the plot forward. Unwilling Main Characters are dragged along by circumstances beyond their control.

From the Dramatica Dictionary

Temptation • [Element] • dyn.pr. Conscience<–>Temptation • the urge to embrace immediate benefits despite possible consequences • Temptation is the draw to belief that the negative consequences of an action are imaginary or can be avoided. Often this is just a pipe dream, and when one gives into Temptation one must pay a price. However, just as often one can avoid negative consequence and indulge one’s desires. It is our Faith and Disbelief in consequences that defines the struggle between Conscience and Temptation. (“Psssst… We’ve got this new Dramatica program that will solve all your story problems but it’s going to cost you some bucks…”) • syn. indulge, embracing immediate benefits, intemperance, immoderation

From the Dramatica Dictionary

Sympathy • [Overview Appreciation] •  The audience will care about the Main Character, but it will not identify with him • Sympathy describes the relationship of the audience to a Main Character whom it cares about yet does not identify with. To identify with the Main Character, empathy is needed, but some story forms do not allow for empathy from either male or female audiences, and some exclude both at once. But sympathy can still be a strong emotion, and creating a storyform which will elicit sympathy can be a way to emphasize the intricacies in a story’s storytelling and Objective Story elements rather than its emotional side.

From the Dramatica Dictionary

Suspicion • [Variation] • dyn.pr. Evidence<–>Suspicion • questioning or forming a belief based on new evidence • Suspicion is a preliminary conclusion arrived at with insufficient evidence. It is valuable in helping one know what kinds of things to look for in gathering additional evidence. But it can also be a detriment because once a character suspects something, he is less likely to examine all the evidence for a completely alternative explanation. • syn. wary approach, partially justified apprehensiveness, informed doubt, doubt based on evidence, sensible caution

From the Dramatica Dictionary

Support • [Element] • dyn.pr. Oppose<–>Support • indirect assistance given to another’s efforts • Support is not direct help. Direct help is actively joining someone in an effort. Support is aiding the effort without actually participating in it. For example, a character possessing the Help characteristic would join someone in digging a ditch. The character representing Support would provide a shovel and cheer them on. Support is a fine thing to keep one’s spirits up, but is awfully frustrating when you just need someone to lend you a hand. • syn. commend, extol, endorse, back, compliment, laud

From the Dramatica Dictionary

Success • [Plot Dynamic] • the original goal is achieved • Every objective storyline in a Grand Argument Story has at its beginning a desired outcome to be sought after. Ultimately, the characters will either Succeed in achieving that outcome or fail to do so. However, Success is not always a good thing. For example, it may be that a character succeeds at something hurtful or evil. Even a well intentioned character might achieve something that he is unaware will cause harm. Whatever its quality, worth or ramifications, if the outcome desired at the story’s beginning is achieved, the story ends in Success.

From the Dramatica Dictionary

Subplot • [Storytelling] • a less developed story hinged to the main story • Subplots are often misunderstood to be secondary subordinate stories running in parallel to the main story. Such secondary stories are a valid storytelling technique but they are not Subplots. A Subplot in not a separate independent story but an amplification of a branch or aspect of the main story. Each Subplot is, indeed, a story in its own right but it is connected to the main story through one of the objective characters. This objective character does double duty as the Main Character (a subjective character) in the subplot. As a result, it is inappropriate to hinge a subplot around either the Main or Obstacle Characters of the main story as the two story lines would become blurred and create confusion as to the message intended. In order to keep Subplots from appearing to be the main story, it is important to draw them with less detail. This does not mean they should be incomplete or sketchy, rather that the Subplot should be explored in less depth. There can be as many Subplots as there are objective characters. A large number of subplots will become unwieldy, however, and can needlessly complicate the telling of a story, blurring or diverting the audience’s understanding of the main story. Similar to the Main Character of the main story, the Main Characters of the subplots should be limited to one story each. Not all “multiple plot” stories consist of subplots attached to a main plot. Frequently in serial programs such as soap operas, certain forms of episodic television, and some written serials such as comic strips, several complete stories run in parallel, connected only by their common setting or by using the same ensemble of characters. In this form of storytelling, characters do double duty, playing multiple roles in a number of separate plots which really do not directly affect each other. The point of note is that an author should be aware of the difference between subplot and multiple plot constructions so that the proper dramatic connections can be made to create the greatest impact.

From the Dramatica Dictionary