STORIES that have an Objective Story Concern of The Future:

Boyz N The Hood: During his gentrification speech in Compton, Furious points out to Tre, Rick, and the others they must start thinking about their future; as parents, Furious and Reva are concerned for their son’s future; Brandi is concerned with her future college education; Rick is concerned about his future in college and football; Tre is concerned with his future in college and a future with Brandi; Brenda Baker is concerned for her son Rick’s future, and believes her son Doughboy’s future is hopeless.

Braveheart: Longshanks is concerned that if the French see that England cannot subjugate the entire island, there will be very little future for English interests and influence on the continent. William and his men are concerned that the Scots and their culture will have no future if they are ruled by England. The Scottish lords are concerned that if they support Wallace, Longshanks will take away all they have–even their very lives.

Charlotte’s Web: The doctor is able to reassure Mrs. Arable about Fern’s future; Wilbur does not want to die, “‘I want to stay alive, right here in my comfortable manure pile with all my friends'” (White, 1952, p. 51).

The old sheep points out to Templeton why he should be concerned about Wilbur, and consequently his own future:

“Wilbur’s leftover food is your chief source of supply, Templeton. You know that. Wilbur’s food is your food; therefore Wilbur’s destiny and your destiny are closely linked. If Wilbur is killed and his trough stands empty day after day, you’ll grow so thin we can look right through your stomach and see objects on the other side.” (White, 1952, p. 90-91)

The Fugitive: Dr. Kimble is concerned with his future (or lack of it) if he cannot clear his name. Dr. Nichols is concerned with his future as a board member of the large pharmaceutical company. The police are concerned with the future safety of the public if the fugitive(s) remain at large. The large pharmaceutical company’s future will be greatly impacted by the success of its new product, RDU90.

The Glass Menagerie: The security of Laura’s future seems to be directly tied to the future well being of the family. SCENE ONE: Amanda is preoccupied with Laura’s future and Laura’s inability to take of herself — (Amanda to Laura) “Stay fresh and pretty! — It’s almost time for our gentlemen caller to start arriving.” Followed closely by AMANDA: “…Mother’s afraid I’m going to be an old maid.” When Amanda finds out Laura has stopped going to business school, she says to Laura, “So what are we going to do the rest of our lives? Stay home and watch the parades go by?….Is that the future that we’ve mapped out for ourselves?” SCENE TWO: AMANDA: “What are we going to do, what is going to become of us, what is the future?” Scene Four has Amanda asking Tom to look for a gentleman caller for Laura at his work; Scene Five has Tom inviting Jim to dinner; and Scenes Six and Seven the gentleman caller comes to dinner and makes a “call” on Laura.

The Graduate: The future can be summed up in one word. Plastics. Everyone has high hopes for Ben’s future. He clearly has a great future ahead of him, possibly as a partner in Dad’s firm, maybe even marrying Elaine. The future looks so bright. . . Which is why everyone is concerned that Ben appears to be wasting all of his time doing “God knows what,” instead of taking the bull by the horns and setting goals. Elaine is also concerned with her future, graduating from college, marriage (to Ben or Carl), her relationship with her parents if she continues to see Ben, etc.

Pride and Prejudice: The objective characters are concerned with their marriage prospects. This concern is illustrated by the Lucas family, after Mr. Collins asks for Charlotte’s hand:

Mr. Collins’ present circumstances [as heir to the Bennet estate] made it a most eligible match for their daughter . . . his prospects of future wealth were exceedingly fair. Lady Lucas began directly to calculate with more interest than the matter had ever excited before how many years longer Mr. Bennet was likely to live . . . .The younger girls formed hopes of coming out a year or two sooner than they might otherwise have done; and the boys were relieved from their apprehension of Charlotte’s dying an old maid. (Austen 105-106)

Revenge of the Nerds: The purpose of the characters’ actions lie in trying to obtain a future state, from heading up the Greek Council, to graduating from college.

Sula: The black community of the Bottom wants a better future for itself, one way they think this can be attained is by sharing in the work of the New River Road; Helene, under the supervision of her grandmother, marries Wiley Wright and moves to Medallion to avoid a future of living with the stigma of her mother’s prostitution; Eva Peace is desperate enough to stick her leg in front of an oncoming train to collect insurance money that will provide for her family’s future.

The Verdict: The relatives want a settlement to secure the comatose woman’s care and for their own future financial security; the doctor’s are concerned with their future careers — or lack of– if they are found negligent; the church is concerned with the future of the hospital and its reputation; the attorney’s on both sides share each of their respective clients concerns for the future; the judge is concerned with being re-elected.

Washington Square: Catherine is concerned with a future as Morris’ wife; Dr. Sloper is concerned with Catherine marrying the right man; Morris is concerned with his financial future; Aunt Penniman is concerned with staying in Doctor Sloper’s good graces so that she may not be turned out in the future; and so forth.

Witness: The Amish are concerned with getting Rachel another husband within one year of her husband’s death; The Amish elders are worried about the resulting disruption if Book dies on them; Rachel fears for Samuel’s safety if Book is tracked down; Schaeffer and his men know their lives are over if Samuel lives to testify against them; Daniel wants a future married to Rachel; Book’s out to bring Schaeffer down.

Excerpted from
Dramatica Story Development Software

STORIES that have an Objective Story Concern of Progress:

A Clockwork Orange: Alex is concerned with how his freedom of action is progressively being hindered. Mr. Alexander is concerned with the progress of political change in society and later, vengeance against Alex. Minister of the Interior, Fred, wants his status and political power to advance. Alex’s droogs want to move on without him. Deltoid wants to make progress in convincing Alex to go to school.

Platoon: All the characters are concerned with how the war is progressing, and what type of impact the U.S. military is having in Vietnam. Throughout the film there are indicators that the U.S. troops are not progressing towards victory–visually expressed in the loss of lives and in the mounting frustration and stress within the platoon. Fresh off the plane, new U.S. recruits are greeted by body bags slung onto another plane going home; the platoon takes out its frustrations on a defenseless village; a civil war breaks out between members within the platoon. It seems every time the platoon comes into contact with the enemy, they lose lives–not uncommon in war, but there doesn’t appear to be any clear victories to counteract the losses. Tension is derived from the sense that everything the platoon attempts to do appears ineffective against the elusive and ever encroaching enemy. By the end of the film, the platoon and several other military companies are completely overrun at their base by the enemy.

The Silence of the Lambs: The FBI is concerned with its discovery of an increasing number of victims and the progress it is making toward locating Buffalo Bill; Clarice Starling is concerned with her progress as an FBI trainee; Buffalo Bill is concerned with the progress of his “suit of skin”; Hannibal Lecter is concerned with the progress being made toward better accommodations (and escape); etc.

Taxi Driver: Betsy and Tom are involved in drumming up more and more support for Palantine as the election approaches; like Travis, they are concerned with improving society; the sign in the campaign HQ window reads “Only 4 More Days Until Arrival of CHARLES PALANTINE”; Travis develops in stages toward becoming an assassin; etc.

Toy Story: Everyone is concerned with the progress of the Davis family’s impending move to another home, and how they are affected by it. “Has everyone picked a moving buddy?” “Already?!” “I don’t want any toys left behind. A moving buddy–if you don’t have one, GET one!” If the move progresses faster than the efforts of Woody and Buzz to reunite with Andy, they are doomed to be Lost Toys. At the gas station: “Sheriff, this is no time to panic.” “This is the perfect time to panic! I’m lost…Andy is gone–they’re going to move from their house in two days and it’s all your fault!” The toys have various other concerns regarding progress: Bo Peep is concerned with how her relationship with Woody is progressing; Rex is concerned with the progress of his “roar”; they even have a “Plastic Corrosion Awareness” meeting, indicating their concerns with age.

Excerpted from
Dramatica Story Development Software

STORIES that have an Objective Story Concern of The Past:

The Age of Innocence: Most of the characters are concerned with the past: Mrs. Mingott, May’s mother, Mrs. Archer, and Sillerton Jackson all want to keep their world just like it always has been in the past. Ellen’s past, especially leaving her husband aided by a male secretary, threatens to tarnish her and all of those associated with her. As Newland Archer comes to know Ellen better, he tries to protect her from rumors about her past by advising her not to divorce her husband, and by trying to keep his feelings for her hidden from his family. When Newland asks May Welland to move up the announcement of their engagement, she resists changing past decisions:

MAY: … But why should we change what is already settled?

When Newland wants to advance the date of their wedding, May insists on doing what everyone else has done before them:

MAY: But the Chivers were engaged for a year and a half. And Larry Lefferts and Gertrude were engaged for two. I’m sure Mama expects something customary.

Chinatown: Noah Cross, Hollis and Evelyn Mulwray, and the mysterious young girl are all connected by the scandalous, incestuous past; Jake Gittes and the police have a long past together; Jake had past interactions with Chinatown as a detective; etc.

The Piano Lesson: Most of the characters are concerned with the past: Berniece is obsessed with the piano’s tragic history and her husband’s death. Avery wants Berniece to let go of the past by marrying him and playing the piano at church services. Lymon worries that if he returns to Mississippi, he’ll end up in the work farm just like in the past. Wining Boy is unhappy with his past life as a piano player because people only wanted to know him for his music. Boy Willie wants to break out of the tradition of sharecropping like his father.

Excerpted from
Dramatica Story Development Software

STORIES about fixed attitudes have an Objective Story Domain of Mind:

Amadeus: The play is a memory play. It is fixed in Salieri’s mind. This is his recollection, his argument, his justification. However, within the objective story, the characters are fixed in their attitudes. The Court is fixed in its ways, the Emperor is fixed in his ways. Salieri is fixed in his desire for fame. Mozart is fixed in his personality and his thinking. Even Constanze is fixed in her regard for Mozart, and her desire to help him.

Apt Pupil: Society holds a fixed negative point of view about the heinous war crimes committed by the Nazis against the Jews, specifically their systematic extermination of those they deemed useless or undesirable.

Barefoot in the Park: “Barefoot in the Park” is a study of why and how fixed attitudes (especially in a marriage) create conflict.

The Client: The greatest conflicts between all the characters in “The Client” are the result of fixed attitudes and incompatible positions on the issues explored. This begins with the conflict between the thug and his attorney (which leads to the attorney’s suicide), and can be seen throughout the rest of the story: Marcus’ determination to remain quiet conflicts with his attorney, the DA’s office, and the mob; the DA’s attitude of “the end’s justify the means” conflicts with the defense attorney’s attitude toward protecting Marcus’ rights; the thug’s reckless dismissal of the possible discovery of the senator’s body conflicts with the mob’s disposition toward protecting family above all else; etc.

The Crucible: In this Puritanical time, there is a definite fixed attitude of the ruling theocracy:

Danforth: . . . But you must understand, sir, that a person is either with this court or he must be counted against it, there be no road in between. This is a sharp time, now, a precise time–we love no longer in the dusky afternoon when evil mixed itself with good and befuddled the world. Now, by God’s grace, the shining sun is up, and them that fear not light will surely praise it. I hope you will be one of those. (Miller 94) Robert Warshow comments:

The Salem “witches” suffered something that may be worse than persecution: they were hanged because of a metaphysical error. And they chose to die–for all could have saved themselves by “confession”–not for a cause, not for “civil rights,” not even to defeat the error that hanged them, but for their own credit on earth and in heaven: they would not say they were witches when they were not. They lived in a universe where each man was saved or damned by himself, and what happened to them was personal. . . . One need not believe in witches, or even in God, to understand the events in Salem, but it is mere provinciality to ignore the fact that both those ideas had a reality for the people of Salem that they do not have for us. (113)

The Great Gatsby: The objective characters hold a fixed attitude about people and society. Tom’s prejudice about people with ethnic backgrounds other than Nordic, and his certainty of the part they will play in the downfall of western civilization, is illustrated as follows:

“‘Civilization’s going to pieces,’ broke out Tom violently. ‘I’ve gotten to be a terrible pessimist about things. Have you read ‘The Rise of the Colored Empires’ by this man Goddard?’

‘Why, no,’ I answered, rather surprised by his tone.

‘Well, it’s a fine book, and everybody ought to read it. The idea is if we don’t look out the white race will be-will be utterly submerged. It’s all scientific stuff; it’s been proved.'”

Hamlet: Hamlet’s bad attitude threatens the stability of the royal family and court. His sustained grief for his father’s death is seen to be unmanly and evidence of “impious stubbornness.” (1.2.98) This is contrasted by King Claudius’ explanation that “discretion” prohibits excessive grief. Claudius has married his brother’s widow and has done so with the concurrence of the members of the council.

Othello: Brabantio thinks of Othello as the Moorish soldier–a well-behaved barbarian–and will never accept him as a son-in-law. Iago’s fixation on revenge rules him absolutely and drives him to ruin. Roderigo thinks he can buy Desdemona’s love. Desdemona loves Othello and will continue to love him no matter how he treats her. Othello thinks the guilty must always be swiftly punished.

The Philadelphia Story: All of the characters in the story are dealing with some sort of rigid thinking, snobbery, or prejudice. Mike reveals himself early on to be anti-upper-class. Tracy calls him an intellectual snob. (“The worst kind there is.”) Kittredge feels that Dexter is somewhat condescending, and before storming off at the end, he declares that “You and your whole rotten class… you’re all on your way out… and good riddance.” Dexter and Seth both accuse Tracy of being closed minded and unforgiving.

Searching for Bobby Fischer: Every character has a fixed opinion of what should be done, how the game should be played, whether or not Josh should or will play, and what the consequences will be. Over the course of the story, all of the principle objective characters will have these views challenged.

To Kill a Mockingbird: In an attempt to avoid the changing times, the small town southerners of Maycomb County hold onto their fixed attitudes regarding race, class, and gender by indulging in the myths they have perpetuated; the children have a fixed attitude concerning Boo Radley and Mrs. Dubose; “The Radley Place was inhabited by an unknown entity the mere description of whom was enough to make us behave for days on end; Mrs. Dubose was plain hell…neighborhood opinion was unanimous that Mrs. Dubose was the meanest woman who ever lived.” (Lee, 1960, pp. 7, 39)

When Harry Met Sally: When Harry Met Sally… explores the different viewpoints men and women hold regarding the opposite sex, and examines the rules and regulations that can govern these relationships.

Excerpted from
Dramatica Story Development Software

STORIES dealing with manipulation and/or manners of thinking have an Objective Story Domain of Psychology:

All About Eve: The objective characters have different ways of thinking: Margo, Karen, Lloyd, and Bill are snowed by their first impressions of Eve. They can’t believe that she’s anything but an innocent, stage-struck kid. Birdie knows a good storyteller when she hears one, and experience tells her that Eve’s worship of Margo is nothing but a first rate act. Margo, influenced by maternal instincts, takes the stray Eve into her home. Later, feelings of unease cause Margo to become wary of Eve’s perfect attentions. Eve thinks she can manipulate everyone with her innocent manner, especially with her subtle picking at weak spots: Margo’s age obsession, Karen’s fear of losing her husband and Margo’s trust and friendship; Lloyd’s desire to have a young actress play his stage heroines. LLoyd’s manipulated by Eve’s tearful apology for her remarks about Margo. He suggests to Karen that Eve plays the lead in his new play:

LLOYD: Eve did mention the play, you know. But just in passing — she’d never ask to play a part like “Cora.” She’d never have the nerve. . .

KAREN: Eve would ask Abbott to give her Costello.

LLOYD: No, I got the idea myself — while she was talking to me. . .

Being There: All the objective characters make their own (erroneous) interpretation of actuality; Chance thinks electronically generated images (TV) are real; with few exceptions, all that come in contact with Chance attribute greater meaning to his pronouncements than they actually warrant:

“I have seen ashes and I have seen powders,” said Chance. “I

know that both are bad for growth in the garden.” “Hear, hear!” the woman sitting on Chance’s right cried out…”Mr. Gardiner has the uncanny ability of reducing complex matters to the simplest of human terms.” (Kosinski, 1970, p. 88)

Four Weddings And A Funeral: The story revolves around a group of close-knit friends’ developing maturity towards commitment in relationships. The dynamics of the group’s interrelationships and manipulations go a long way toward exploring these issues.

Harold and Maude: Mrs. Chasen and her helpers are concerned with turning Harold around to their way of thinking. Maude shows Harold her upbeat view of life, which includes embracing its end. Harold is concerned because:

HAROLD: I don’t think I’m getting through to mother like I used to.

PSYCHIATRIST: Does that worry you?

HAROLD: Yes. It does worry me. […] I put a lot of effort into these things.

(Higgins, p. 6-7)

Heavenly Creatures: Pauline’s thoughts are totally focused on Juliet, with whom she shares a delusional, imaginary world; Mr. Hulme and Mrs. Rieper are worried by the idea that Pauline may have “formed a rather… unwholesome attachment to Juliet,” and they and the psychologist disapprove of the dreaded “Homosexuality…”; Mrs. Hulme thinks it’s normal, as she’s “sure it’s all perfectly innocent”; Mr. Rieper doesn’t seem to understand the concept, being more worried over her disobedience; etc.

Klute: The objective story takes place in Bree’s New York City, a place where call girls like her manipulate johns like Cable, feeding their egos for money:

CABLE: You just want me to keep on talking, don’t you?

BREE: No, I don’t, I do understand, I really do.

CABLE: Well, that’s what you all do.

In turn, Bree is manipulated by men like her “man” Frank, and by the stalker Cable. Sharing Bree’s lifestyle, Klute comes to loosen up his puritan way of thinking about sexuality.

Lolita: Most of the characters try and manipulate one another. Charlotte schemes to shunt her daughter aside so that she can have a clear field with Humbert; she tries to manage Lolita’s behavior by withholding treats (to no avail). Humbert spends hours minutely planning his wooing of Lolita and later, continually blackmails her into staying with him using blandishments. He also handles Charlotte through the use of subterfuge and “a fantastic display of old-world endearments” (Nabokov 70). Lolita, aware of her power over Humbert, gets him to buy her an extraordinary amount of worldly goods. (The author recites lists and more lists of these purchases.) Quilty and Lolita play mind games with Humbert through a series of clever missives and Humbert even admits that: “He succeeded in thoroughly enmeshing me and my thrashing anguish in his demoniacal game” (Nabokov 227).

Quills: Quills explores the art of manipulation. Dr. Royer-Collard coerces his wife into moving away from Paris to the provinces by promising “her a chateau to rival Fontainbleau” (Wright 8); Renee Pelagie and Dr. Royer-Collard play a cat-and-mouse game to each get what they want– she desires to return to her social position, he says he wants money for the institution that houses her infamous husband:

Dr. Royer-Collard: . . . If you were to buttress your entreaties, with, perhaps, the means to oblige them . . . Is it not true, that the recent sale of his (The Marquis’) mansion at La Coste has granted you a sudden windfall?

Renee Pelagie: A trifling nest egg, hardly a fortune.

Dr. Royer-Collard: If you are truly determined to step out of the long, dark shadow of your husband’s celebrity . . .

Renee Pelagie: Don’t toy with me doctor! (Wright 13); The Marquis manipulates the staff to care for his creature comforts:

Coulmier: As you know, most esteemed Marquis, the staff has done its utmost to render you comfortable here.

The Marquis: It’s true, dear-heart, you’ve spoiled me pink. (Wright 23); The Marquis provides Madeleine and her mother with the lurid stories they crave in return for kisses from the young girl; Cracking a riding whip, Madame Royer-Collard manipulates the architect, Monsieur Prouix, into serving her needs.

Rear Window: The source of the story’s troubles stem from attempts to conceptualize what is going on in various personal relationships. Though he lacks tangible evidence, Jeff’s convinced that Thorwald has done away with his wife. He spends a lot of time trying to bring Stella, Lisa, and Doyle around to his way of thinking. To manipulate Thorwald into leaving the apartment, Jeff plays mind games with a note and a phone call.

Rebel Without a Cause: An example of how the objective story explores a certain way of thinking is when Buzz indicates to Jim that he likes him, just before the chickie race. Jim questions him about why, then, must they engage in a dangerous contest:

Buzz: I like you, you know?

Jim: Buzz? What are we doing this for?

Buzz: (still quiet) We got to do something. Don’t we? (Stern 59-60); to Plato’s way of thinking, Jim is his father figure although they have only known each other briefly; Judy explains to Jim that she must treat him one way in front of the kids and another way when they are alone; Jim explains to the juvenile officer how his parents handle his transgressions:

Jim: They think I’ll make friends if we move. Just move and everything’ll be roses and sunshine.

Ray: But you don’t think that’s a solution. (Stern 16)

Sunset Boulevard: The objective characters have different ways of thinking: Joe’s agent thinks his client’s desperate need for money and the chance that he’ll lose his car is a good thing:

MORINO: Don’t you know that the finest things in the world have been written on an empty stomach? [. . .] Now you’ll have to sit behind that typewriter. Now you’ll have to write.

Norma thinks that she belongs back in the limelight and can manipulate her way to her goal; Joe thinks that Norma’s strange, but he can get some quick cash from her then escape back into the “real” world; Betty believes that if she can convince Joe to co-write his story with her, she’ll launch her screenwriting career; Artie thinks that Betty and Joe should put action scenes in their picture so he can work on it as an assistant director; Max thinks that by sending Norma phony fan letters he can keep her happy and prevent more suicide attempts; Mr. DeMille thinks that by not telling Norma she’ll never do another picture with him, he’s keeping her from being hurt.

Tootsie: The objective characters have different ways of thinking, which often causes them problems: Michael thinks that holding to his exacting standards and never compromising is the key to being a successful actor; Jeff thinks that writing issue oriented, quirky plays are the only type worth writing, but his plays are commercial flops; Sandy thinks once she has sex with her men friends they’ll leave her; John Van Horn thinks as the leading man on “Southwest General” he should kiss all of the actresses, and makes sure to manipulate every situation to accomplish this; Julie thinks by not demanding more from her relationships she won’t risk being lonely; Ron thinks he can charm any woman he meets.

Who’s Afraid of Virginia Woolf?: The story explores the characters’ efforts to manipulate, coerce, and/or “psych-out” each other. During the course of the evening, they play several “games,” such as “Humiliate the Host,” “Get the Guests,” “Hump the Hostess,” and “Bringing up Baby.”

X-Files: Beyond the Sea: The objective characters have different ways of thinking: Boggs thinks he can manipulate Mulder and Scully with demonstrations of his psychic abilities; Mulder thinks Boggs is a fake and, out of revenge, is setting a trap for him for sending Boggs to the gas chamber; Mulder tries to convince Scully not to fall for Boggs “trap”; Scully suspends her disbelief of extreme possibilities and thinks that believing in Boggs will aid the case and possibly ease her doubts about her father’s love.

Excerpted from
Dramatica Story Development Software