Subjective Story Catalyst • [Variation] • The kind of item which serves to push the Subjective Story forward • The Subjective Story Catalyst is what creates breakthroughs and seems to accelerate the Subjective Story. In both the Objective and Subjective Stories there occur dramatic “log-jams” when things seem to be approaching a halt. This is when the Catalyst is necessary, for its introduction will either solve the puzzle that’s holding things up or else make the puzzle seem suddenly unimportant so the story can continue.

From the Dramatica Dictionary

Subjective Story Benchmark • [Type] • The standard by which growth is measured in the Subjective Story • The Subjective Story Benchmark is the gauge that tells people how far along the Subjective story has progressed. It can’t say how much longer the story may go, but in regards to seeing how far away the concerns are, both the Main and Obstacle Characters, as well as the audience, will look to the Benchmark in order to make any kind of judgment. This Type item describes the nature of the measuring stick which will be used in the Subjective story.

From the Dramatica Dictionary

Subconscious (The Subconscious) •[Type] • dyn.pr. Preconscious<–>Subconscious • basic drives and desires • Subconscious describes the essential feelings that form the foundation of character. These feelings are so basic that a character is often not aware of what they truly are. When the Subconscious is involved, a character is moved right to the fiber of his being. • syn. libido, id, basic motivations, basic drives, anima

From the Dramatica Dictionary

Strategy • [Variation] • dyn.pr. Analysis<–>Strategy • a plan to achieve one’s purpose or a plan of response • The specific plan or series of interconnected plans that are intended to produce a desired result is called a Strategy. The sophistication of a strategy can range from complex to non-existent (if a character prefers to wing it). Sometimes a strategy is on the mark, other times it is completely inappropriate to its intended purpose. Either way, for the audience to appreciate its apt or inept construction, the plan must be spelled out in full. In storytelling, Strategy can define limits and draw out parameters for a story. This is a useful variation to use for connecting theme to plot. • syn. scheme, tactic, plan, ploy, decided approach

From the Dramatica Dictionary

Storyweaving • [Dramatica Term] • The process of unfolding a story’s dramatic structure over time • There are four stages in the process of communication from author to audience. They are: Storyforming, Storyencoding, Storyweaving, and Storyreception. Storyforming establishes the underlying dramatic structure of a story. Storyencoding turns raw story points into specific scenarios, events, and dialog. Storyweaving determines how the encoded story points will be revealed or unfolded to the audience. Storyreception refines the story to tailor it for a specific audience. Storyweaving has two aspects: Exposition and Expression. Exposition determines how information about the story will be doled out to the audience. Expression implements the Exposition in specific words, events, dialog, music, visuals, etc. When approaching Storyweaving it helps to know in advance what the story is about. Otherwise, one is trying to arrive at a consistency in presentation at the same time one is trying to determine what, in fact, ought to be presented. The Exposition aspect takes stock of all the story points and information that must be conveyed to the audience, including progressions of events which must occur in a particular order for the story to make logistic sense. Then, a plan for revealing this information is worked out so that some story points are presented directly, others are doled out over the course of the story, others are hidden, and still others are designed to first mislead the audience and then expose the fact of the matter. The Expression aspect is the most creative part of authorship. It is here that a novelist writes the actual chapters, or a Playwright pens the specific dialog. Even when the manner in which Exposition is to occur is known, the means of Expression has yet to be determined. For example, if the Exposition plan has been to reveal an important event in the backstory through a flashback, an author might choose to Express that event and the manner in which the flashback occurs in any number of ways. Collectively, Exposition and Expression translate what a story is about into the linear progression of how the story unfolds and is revealed through Storyweaving.

From the Dramatica Dictionary

Storytelling • [Dramatica Term] • The process of communicating a story’s dramatic structure through the developing and unfolding of symbols, events, and scenarios • We’ve all heard good jokes told poorly. We’ve all hear terrible jokes told well. When a good joke is told well, everything works together. When a bad joke is told poorly, nothing can save it. Part of what makes up a story is the underlying dramatic structure. Another part is the manner in which that structure is expressed. In a sense, Structure represents the Craft of writing, and Storytelling represents the Art. The structure itself is always invisible in the story, for it is the conceptual framework connecting all the dramatic potentials. What is visible is the embodiment of that structure in scenarios, events, and symbols, which collectively constitute the Storytelling. Storytelling, therefore, must do two jobs: entertain the audience through clever presentation and be focused enough to accurately convey the underlying structure.

From the Dramatica Dictionary

Storyreception • [Dramatica Term] • The process of tailoring the telling of a story to a specific audience • Every culture and sub-culture has its own lingo, taboos, and givens. As a result, most stories do not play the same for one kind of audience as for another. Storyreception seeks to anticipate and take into account the nature of the target audience to tailor the story so that it is received as intended. Although we all have the capacity to feel the same emotions and make the same logistic connections, our particular sub-culture may shy away from certain emotions, or brand a particular kind of reasoning as inappropriate. Further, just because we may empathize with the same emotions doesn’t mean we all feel as deeply, or if we see logical connections that we all grasp them as quickly. Especially when writing for audiences such as children, it is important to consider depth and speed as well as buzzwords and popular symbols. Often we can take advantage of cultural symbols to express mountains of sense and oceans of mood with a single story point. Other time we must develop an inordinate amount of media real estate to get across the most simple experiences, if they fall outside familiar cultural bounds for out audience. The important point for an author is to determine the target audience and make sure to be or become familiar enough with that audience to take cultural expectations and taboos into account. For an enlightened audience, the task is to recognize that other ingrained cultural imperatives exist, and to seek to appreciate a story in the context in which it was created.

From the Dramatica Dictionary

Storyforming • the process of creating the unique dramatic structure of a story • When an author thinks of the way he wants his story to unfold in terms of the point he wants it to make and how his characters will solve their problems, what that author is doing is Storyforming. Before Dramatica, the tendency was to actually blend the two processes of Storyforming and Storytelling together so that authors thought of what they wanted to say and how they wanted to say it more or less simultaneously. But these are really two distinct acts which can be done separately, especially with the help of Dramatica.

From the Dramatica Dictionary

Storyencoding • [Dramatica Term] • The process of developing a dramatic structure into specific symbols, events, and scenarios• There are four stages in the process of communication from author to audience. They are: Storyforming, Storyencoding, Storyweaving, and Storyreception. Storyforming establishes the underlying dramatic structure of a story. Storyencoding turns raw story points into specific scenarios, events, and dialog. Storyweaving determines how the encoded story points will be revealed or unfolded to the audience. Storyreception refines the story to tailor it for a specific audience. In practice, most authors work creatively in more than one stage at a time. Dramatica separates the stages, allowing an author to seek specific help and information regarding any part of the process. In keeping with this approach, Storyencoding has its own purpose, yet relates to the other three stages as well. As an example, one author might begin with Storyforming and then continue to Storyencoding. Another might begin with Encoding and then approach Forming. As an example, Author #1 makes a Storyform decision that the Goal of his story should be Obtaining. Then, in Storyencoding, he illustrates or employs Obtaining as “The Goal is to Obtain a Buried Treasure.” Author #2 might begin in Storyencoding, writing, “The Goal is to win Jan’s love.” Then, developing the structure that supports that story point, the Author #2 approaches Storyforming, and out of all the structural choices, picks “Obtaining” as Storyforming item that best describes his story’s Goal. Any given Storyforming item can be encoded in any number of ways. And, any already encoded story point might be interpreted as any one of the Storyforming items. Regardless of which order is taken, associating a Storyforming item with an encoded story point clarifies the dramatic essence of the structure, as illustrated in a given form. This allows an author to more precisely develop the overall story in a consistent and complete manner.

From the Dramatica Dictionary

Storyforming versus Story telling • There are two parts to every communication between author and audience: the storyforming and the storytelling. Storyforming deals with the actual dramatic structure or blueprint that contains the essence of the entire argument to be made. Storytelling deals with the specific way in which the author chooses to illustrate that structure to the audience. For example, a story might call for a scene describing the struggle between morality and self-interest. One author might choose to show a man taking candy from a baby. Another might show a member of a lost patrol in the dessert hoarding the last water for himself. Both what is to be illustrated and how it is illustrated fulfill the story’s mandate. Another way of appreciating the difference is to imagine five different artists each painting a picture of the same rose. One may look like a Picasso, one a Rembrandt, another like Van Gogh, yet each describes the same rose. Similarly, different authors will choose to tell the same Storyform in dramatically different ways.

From the Dramatica Dictionary