Storyform • [Dramatica Term] • The underlying dramatic skeleton of a story • When a story is stripped of all its details and Storytelling, what is left are the appreciations and thematic explorations that make up a Storyform. When a story fully illustrates the Storyform it is working from it will make a complete argument without any “plot holes” because the argument of a story is its Storyform.
From the Dramatica Dictionary
Story versus Tale • A tale describes a problem and the attempt to solve it, ultimately leading to success or failure in the attempt. In contrast, a story makes the argument that out of all the approaches that might be tried, the Main Character’s approach uniquely leads to success or failure, or is at least the best or worst. In a success scenario, the story acts as a message promoting the approach exclusively; in the failure scenario, the story acts as a message exclusively against that specific approach. Tales are useful in showing that a particular approach is or is not a good one. Stories are useful in promoting that a particular approach is the only good one or the only bad one. As a result of these differences, tales are frequently not as complex as stories and tend to be more straight forward with fewer subplots and thematic expansions. Both tales and stories are valid and useful structures, depending upon the intent of the author to either illustrate how a problem was solved with a tale or to argue how to solve a specific kind of problem with a story.
From the Dramatica Dictionary
Story Mind • The central concept from which Dramatica was derived is the notion of the Story Mind. Rather than seeing stories simply as a number of characters interacting, Dramatica sees the entire story as an analogy to a single human mind dealing with a particular problem. This mind, the Story Mind, contains all the characters, themes, and plot progressions of the story as incarnations of the psychological processes of problem solving. In this way, each story explores the inner workings of the mind so that we (as audience) may take a more objective view of our decisions and indecisions and learn from the experience.
From the Dramatica Dictionary
Stop • [Character Dynamic] • Regarding the Main Character, the audience is waiting for something to end • Stop means something different in a story where the Main Character has a Resolve of Change than in a story where the Main Character has a Resolve of Steadfast. If the Main Character Changes because he possesses a detrimental trait, then he Stops doing or being something he has been. If the Main Character is Steadfast in holding out for something outside himself to be brought to a halt, he is hoping that it will Stop. The term simply describes an aspect of the growth which happens in the Main Character.
From the Dramatica Dictionary
Steadfast • [Character Dynamic] • The Main Character ultimately retains his essential nature • Every Main Character represents one special character element. This element is either the cause of the story’s problem or its solution. The Main Character cannot be sure which he represents since it is too close to home. Near the climax of the story, the Main Character must demonstrate whether he has stuck with his original approach in the belief that it is the solution or jumped to the opposite trait in the belief he has been wrong. When a Main Character decides to stick with his story-long approach, he is said to remain Steadfast.
From the Dramatica Dictionary
Steadfast Character {Character Appreciation} • the Subjective Character who ultimately retains his essential nature from the beginning of the story to the end of story • Every Subjective Character (both the Main and Obstacle Character) represents one special character element. This element is either the cause of the story’s problem or its solution. The Subjective Character cannot be sure which he represents since it is too close to home. Near the climax of the story, each Subjective Character must demonstrate whether he has stuck with his approach in the belief that it is the solution or jumped to the opposite trait in the belief that he is the cause of the problem. There will only be one Steadfast Character in every story, however when a Subjective Character decides to stick with his story-long approach, he is said to Remain Steadfast.
From the Dramatica Dictionary
State-of-Being • [Variation] • dyn.pr. Sense of Self<–>State-of-Being • one’s true nature • State of Being describes the actual nature of a character. The character himself is often not aware of the true nature of his being. In fact, there may be no one at all who fully understands all that he is. However, in the communication between Author and Audience, the essence of a character must be fully explained or the story’s message will be obscured. • syn. essence, one’s true self, true self, essential nature, core being
From the Dramatica Dictionary
Start • [Character Dynamic] • Regarding the Main Character, the audience is waiting for something to begin • Start means something different in a story where the Main Character has a Resolve of Change than in a story where the Main Character has a Resolve of Steadfast. If the Main Character must Change because he lacks an essential trait, then he must Start doing or being something they currently are not. If the Main Character is holding out Steadfastly until something begins in his environment, then he is waiting for something to Start. The term simply describes an aspect of the growth which happens in the Main Character.
From the Dramatica Dictionary
Speculation • [Element] • dyn.pr. Projection<–>Speculation • an extension of possibilities into the future • Speculation is the effort to determine what could conceivably happen in the future even though it is not the most likely scenario. Speculation leads a character to expect the unlikely in the event that it actually occurs. Difficulties arise when Speculation runs rampant and a character puts effort into preparing for things that are so unlikely as to be unreasonably improbable. • syn. prognostication, surmising possibilities, conjecturing
From the Dramatica Dictionary
Solution • [Element] • the specific element needed to resolve the story’s problem • The Solution Element is the “flip side” of the Problem Element. In a Change story, for instance, the focus may be on the Problem Element (“The Main Character should not be this way”) or the focus may be on the Solution Element (“The Main Character should be this way”). So in a sense the Problem Element is not by itself the cause of the story’s problem, but works in conjunction with the Solution Element to create an imbalance between two traits that need to be balanced. The choice to present one as a negative trait defines it as the Problem Element and its positive partner becomes the Solution Element. In Steadfast stories, the Solution Element represents the nature of the things that would resolve the Objective Story Problem. Again it is the “flip side” of the problem, but it has exclusively to do with the Objective Story since the Main Character does not, in these cases, share the same problem as the Objective Story.
From the Dramatica Dictionary