Interactions Among Character Dimensions

Most stories tend to emphasize one dimension over the others. Character Motivations are often made most prominent. Still, many stories are written that compare the methods used by characters, question their purposes, or carry a message that a Means of Evaluation is actually the cause of the problem. Some characters become famous for characteristics other than Motivations, such as a notable detective who employs a methodology of Deduction.

Being aware of all four character dimensions adds a level of versatility in creating complex characters as well. Characters might be Archetypal in one dimension, but fall into complex patterns in another. Also, a character may have three Motivations that drive it, yet strive toward a single Purpose that it hopes will satisfy all three. Some characters may not be represented at all in one or more dimensions, making them both more complex and less well-rounded at the same time. To fully make the argument of any story, however, all sixty-four Elements must be represented in one character or another. In addition, a key point to remember is: Unless a character represents at least one Element, it is not fulfilling a dramatic function and is therefore being employed for storytelling only.

From the Dramatica Theory Book

Archetypal Methodologies

Shifting our attention to the Methodology Set, a very useful thing becomes evident. Because the Methodology Elements are also arranged in Dynamic Pairs, we can simply duplicate the Archetypal pattern from the Motivation Set and the Archetypal Characters will cover the Methods they represent in stories as well.

For example, a Protagonist who is Motivated by Pursuit employs a Methodology of Pro-action, and a Skeptic who is Motivated to Oppose employs a Methodology of Non-Acceptance.

This Archetypal Pattern continues through all four character dimensions such that a Protagonist will be motivated by Pursuit, employ a Methodology of Pro-action, Evaluate its progress by the Effect it has, and strive toward achieving Actuality as its Purpose. Each of the Archetypal Characters follows the same pattern for both its External and Internal characteristics, resulting in an alignment of character Elements in four dimensions.

From the Dramatica Theory Book

Character Element Pairs

In each quad of four Elements, the items that are diagonal from one another hold the greatest potential for conflict because they are exact opposites.

For example, Pursuit is the opposite of Avoid. As a result, when we place the Protagonist on the Motivation of Pursuit, we would expect the Antagonist to represent Avoid. As we have illustrated in the previous section, that is exactly the case. Similarly, when we place the Reason Archetype on Logic, it comes as no surprise to find Emotion residing on Feeling, since it is diagonal from Logic. In fact, every pair of Archetypes that are in a diagonal relationship will generate the greatest dynamics between them. This is why we call two Elements in diagonal opposition a Dynamic Pair.

From the Dramatica Theory Book

 

Character Elements

The Sixty-Four Element Question

 
Each of the character dimensions contains sixteen Elements, as we have already seen with Motivations. Each character dimension is referred to as a Set of Elements. All four Sets come together to create what is called a Chess Set (due to its eight by eight grid) as illustrated below:

From the Dramatica Theory Book

Character Evaluations

All right, Buddy… Where’s the conflict?!

As an example of the concept of Evaluation, imagine two business partners who share motivations, methodologies and purposes. They might agree on what drives them (a motivation to be independent), what they want to achieve (a purpose of creating a thriving business), and how to achieve that (word-of-mouth advertising as a methodology). Still, they might argue if sales are up but satisfaction is low because one evaluates based on gross sales and the other evaluates based on customer satisfaction. Their word-of-mouth methodology brings in more business because their prices are good, but repeat business is non-existent because of poor customer satisfaction. As a result, the two partners argue all the time, even though they agree in all three dimensions of Motivation, Methodology, and Purpose.

Difficulties can arise between characters in any one of the four dimensions, even though they might agree completely in one or more of the other dimensions. In short, characters are never fully developed unless they are represented in all four dimensions, and they may come into conflict over any combination of Motivations, Methodologies, Means of Evaluation, or Purposes.

From the Dramatica Theory Book

Character Dimensions

Step into the Fourth Dimension….

In Dramatica, we refer to Motivation as a Character Dimension. Often it is said that characters must be three-dimensional to seem like real people. Dramatica sees four dimensions as necessary to flesh out a character. Motivations and Purposes are the first and last dimensions, but that is not enough. Motivation gives a character the force to move, Purpose gives a character a direction in which to move. But how is he actually going to get to where he wants to go? For this, he needs a Methodology, which is the third dimension of character. Methodologies describe the kinds of approaches a character might use in its efforts to achieve its purposes.

This might seem like enough dimensions. After all, we have a beginning (motivation), a middle (methodology), and an end (purpose). Still, there is one remaining dimension lacking: Evaluations. Evaluations are the standards by which characters measure their progress.

From the Dramatica Theory Book

A Character’s Purpose

What’s the Purpose?

When authors describe their characters, they are often asked to state a characters’ motivations. A common reply might be, “The character Jane wants to be president.” Often that is accepted as a valid motivation. In fact, becoming president is Jane’s Purpose, not her motivation. Her motivation may be that she felt no control over her life as a child. Or she might be motivated by a love of the natural world, hoping to instigate a national conservation plan. She might be motivated by a desire for an equal rights amendment.

Just knowing what her purpose is does not tell us anything about what Jane is driven by but only what she is driven toward. Any of the stated motivations would be sufficient to explain Jane’s purpose of becoming president. Conversely, if Jane’s motivation were the first example – a lack of control over her life as a child – several different purposes might satisfy that motivation. She might become a school teacher, a drill sergeant, or a religious leader. Clearly, motivations do not specifically dictate purposes, nor are purposes indicative of any particular motivations.

From the Dramatica Theory Book

Complex Characters in “Rear Window”

From the Dramatica Theory Book

Principal Characters in Rear Window

If there is anything that can be seen as “typical” about a Hitchcock film it would be his forefront use of thematics. Rear Window is no exception. As with Gone With the Wind, the enjoyment of the story comes largely from what happens between the lines. But unlike GWTW, the characters in Rear Window are relatively complex.

At first glance, it may seem that there are quite a few characters, what with the neighbors and all. There’s the Composer, trying to sell his first hit song. There’s Miss Lonely Heart, who can’t get a date. We see a lot of Miss Torso who exercises in front of her open window. Upstairs is the Couple With the Dog, downstairs, the Sunbather. And, of course, Thornton the murderer.

More prominent, of course, is Jeffries and the characters we see in his apartment: his girlfriend Lisa; Doyle, the detective; and his Nurse. (It is important to note that Thornton also shows up in Jeffries’ apartment near the end of the story and is the only neighbor to do so.)

The Top Five

The purpose of characters is to show how aspects of the Story Mind deal with a problem. And this is what determines that the neighbors are not Objective Characters. Aside from Thornton, they all have their own little stories, but only interact with each other peripherally, if at all. Their private stories enhance the thematic atmosphere of the overall story but neither advance nor clarify the plot.

If we eliminate all the neighbors who do not interact, we pare our list down to five actual characters: Jeffries, Lisa, Doyle, Nurse, and Thornton. If Rear Window is well written, we would expect all sixteen motivation Elements to be distributed among these five. Let’s see if they are.

Elements of the Top Five

Who represents FAITH? Unquestionably Jeffries. He maintains his belief that a murder has been committed in the face of objections by each of the other characters. Lisa can’t talk him out of it and neither can his Nurse. Thornton denies it by his actions and Doyle is not convinced until after the proof is irrefutable. In fact, Doyle personifies DISBELIEF, even while HELPING Jeffries gain information to which he would not otherwise have access. Lisa comes around to accepting the possibility and so does Nurse. Thornton already knows the truth, but Doyle is never convinced until he sees the proof with his own eyes.

In addition, Doyle relies on LOGIC to support his disbelief. He will not accept Jeffries’ contentions without logical arguments. Then is Jeffries FEELING? No. Jeffries does not disregard Logic in his considerations; he merely can’t supply it. Jeffries urges the others to CONSIDER what he knows and what he suspects. Lisa, on the other hand, continually acts on impulse without regard for logic, illustrating nicely the characteristic of FEELING.

If Jeffries is CONSIDERATION, we would expect his nemesis, Thornton, to cause RECONSIDERATION, and he does. Thornton’s apparently guilt-free actions are a constant force that urges Jeffries (and the others) to RECONSIDER. All we ever see of him is that he acts methodically to carry out his plan, whatever that might be. It is his methodical approach that makes Thornton the CONTROL Character as well. He wastes no time or energy on anything but the task at hand, whereas Jeffries dabbles at whatever fills his view, even when it interferes with his goal of getting the goods on Thornton. Jeffries plainly illustrates the Element of being UNCONTROLLED.

Even though Lisa SUPPORTS Jeffries in his quest, she manages to HINDER his efforts through distraction and re-direction of their conversations. She clearly TEMPTS him to give up PURSUING this crazy scheme. In contrast, Jeffries’ Nurse OPPOSES his efforts, even while providing a moralistic philosophy or CONSCIENCE to his every comment. And, of course, Thornton would prefer to AVOID the whole thing.

Characteristic Lists

If we take a slightly different form, we can arrange the five Characters as column headings and list their characteristics beneath them.

Rear Window Characters in the Motivation Set

Assigning the Character names of Rear Window to the Motivation Characteristic Quads we get:

Using the grid above we can predict the principal conflicts of Rear Window simply by noting which characters are in Dynamic (diagonal) positions and the issues (Elements) over which each pair will diverge.

In summary, the set of sixteen Motivation Elements offers a valuable tool for understanding some of the essential building blocks of Objective Characters and how they can be distributed to create both Archetypal and Complex characters.

A Story’s Limit: Timelock or Option Lock?

The following is excerpted from an online class on story structure presented by co-creator of the Dramatica theory of story, Melanie Anne Phillips, signed on as Dramatica:

Dramatica : Now, I’ll jump ahead for a moment and look at a couple of plot questions…. First of all, is your story forced to a conclusion because your characters run out of time, or run out of options? This is Timelock or Optionlock. We all know what timelocks are…The ticking clock, 48 hours, etc. But what about stories like Remains of the Day? What was the time limit in that? There was none. So why didn’t the story go on forever? Because it was set up to have a limited number of opportunities for the characters to try and make a relationship happen. And when all the opportunities were exhausted, that’s when the story ends. Its important for the audience to know this right up front… they have to know the scope of the argument.

In Speed, the movie, they actually change from one lock to the other and this is confusing…The set up is, that the bomb will go off at 11:30 no matter what. So, the audience gets their sense of tension from the ticking clock. They expect that to be the moment win or lose will happen. All the other “constraints” about the speed of fifty miles per hour, and not being able to take anyone off the bus, are just that, constraints, but the bus could keep going forever with refueling, if it were not for the time bomb. But at the end of the story, what brings the moment of truth? Not the time bomb…. In fact, the bus slows down below fifty as it hits the plane. The LED numbers that are ticking down are the speed, not the time! So, the timelock is not honored.

Then we don’t know WHEN the story is going to end for sure. We assume maybe when the bad guy gets it. But that wasn’t where our tension was headed. Where the tension was built toward at the beginning, and therefore its something of a cheat and bit of a disappointment.

Dramatica : Actually, barring questions, I’ll have to stop there for now, as I have a class of 30 eager writers coming here to Screenplay for a class tomorrow morning.

Dan Steele : is “reception theory” the psychology of the audience?

Dramatica : Yes, Dan, its like this.. We, as an audience, can see pictures in clouds, wallpaper, constellations…We try to order our world, When we see a finished work, we look for pattern. Sometimes we see what the author intended, Sometimes things the author never intended that may or may not be in conflict with the intended message. And sometimes, we see no pattern at all. It may be the Storyform was flawed, missing apiece. Or it may be that the storytelling just didn’t convey it, or it may be that the audience just isn’t tuned into the symbols the author chose to use.

From Dramatica Class Transcripts