The Subjective Story Concern describes the area of shared concern for the Main and Obstacle Characters. The Subjective Story Range and Counterpoint describe why they come to blows over it. The Main Character will believe the Subjective Story Range (or counterpoint) is the value standard that should be used when looking at the Subjective Story Concern. As a result, The Main Character will see the Concern in a particular light. In contrast, the Obstacle Character will believe the other Variation (Range or counterpoint) is the proper way to evaluate the Concern. Since this standard of measure results in different conclusions about the Concern, the Main and Obstacle Characters come into conflict. They use these two points as they argue over two issues: what should be done about the Concern, and which is the best way to look at it.

From the Dramatica Theory Book

The Obstacle Character Range provides a way of evaluating the appropriateness of the Obstacle Character’s impact. The Obstacle Character Range and Counterpoint act as a balance or scale against which the results of the Obstacle Character’s point of view are weighed. This is where an author can truly tip the balance as to which point of view the audience comes to favor. Later we shall explore how that balance might be tipped back and forth over the course of the story, making a more realistic and less heavy-handed statement of the author’s bias.

From the Dramatica Theory Book

The Main Character Range (and its counterpoint) represent the thematic conflict of personal interest to the Main Character. It will be seen in the kinds of things this character notices which no one else does. Because it is so personal a value judgment, the author can use this appreciation to whisper his point of view, rather than shouting it overtly, as might happen with the Objective Story Range. Because it is so personal, the Main Character Range helps bring humanity to the Main Character. It is through the issues explored through the Range that the audience can identify not only with the Main Character’s head but his heart as well.

From the Dramatica Theory Book

Worth • [Variation] • dyn.pr. Value<–>Worth • a rating of usefulness or desirability to oneself personally• Worth describes the subjective value of an item or action to an individual. Of course, this varies greatly from individual to individual. This is the nature of garage sales • one woman’s trash is another woman’s treasure. Making choices on the basis of Worth is an efficient way to get the most with one’s resources. But there may be all kinds of potential locked in something a character considers worthless because objectively it has great Value. For example, Native Americans used gold simply as a decoration. To them it had little other Worth. Of course to Europeans it had significant Value. A character who ignores potential value because of low Worth can live to regret the deals he makes in a story, both physically and emotionally. • syn. subjective value, individual appraisal, personal importance

From the Dramatica Dictionary

Worry • [Variation] • dyn.pr. Confidence<–>Worry • concern for the future • Like confidence, Worry looks toward the future but is based on a projection of negative experience. When in the past seemingly innocuous situations have developed into disasters, one learns to Worry at the slightest evidence of instability. Worry has the positive quality of motivating one to prepare for the worst. If the worst happens, the character representing Worry is truly prepared. But how often does the worst actually happen? The downside is that resources one might use to make advances are wasted just trying to protect the status quo. And those who worry tend to avoid unknown situations that might hold substantial rewards. • syn. anxiety, concern, apprehension, misgivings

From the Dramatica Dictionary

Work • [Variation] • dyn.pr. Attempt<–>Work • applying oneself to something known to be within one’s ability • When a task lies within one’s known abilities, effort applied to the task is Work. There are no surprises; no short-comings. But has one accurately judged both one’s abilities and the demands of the task? If not, perhaps the task is not achievable or of a size that one must increase one’s abilities before undertaking it. • syn. appropriate undertaking, suitable task, manageable labor, a performable activity

From the Dramatica Dictionary

Wisdom • [Variation] • dyn.pr. Enlightenment<–>Wisdom • understanding how to apply Knowledge • Wisdom is the meaning of what is known. A Character may be aware of facts but unless he sees the pattern that organizes those facts, the knowledge alone may be useless. Wisdom, therefore, does not describe just being aware of something but understanding how many bits of knowledge fit together .• syn. mental mastery, integrated understanding, seasoned understanding, comprehension, astute cogency

From the Dramatica Dictionary

Willing • [Overview Appreciation] • The Main Character willingly participates in the effort to find a solution to the story problem • Willing describes a Main Character who is self-motivated to find a solution to the story’s problem. Even if the going is tough, he requires no outside encouragement or compulsion to keep up the effort.

From the Dramatica Dictionary

Variation • [Structural Term] • The 64 items that can be employed in a story’s thematic arguments • The variations describe the thematic message and the development of that message in the story. Variations are measuring sticks by which the author wishes his message to be evaluated. It is the discrepancy between opposing ways of evaluating the meaning of the story that creates the thematic statement as to which is the best way or that one way is no better or worse than another. There are 64 Variations in the Dramatica structure, 16 to each Class.

From the Dramatica Dictionary

Value • [Variation] • dyn.pr. Worth<–>Value • the objective usefulness or desirability of something in general • Value is a good indicator by which to predict its import to others. However, no one really thinks completely objectively so there is always a degree of personal preference included in a determination of Value. Difficulties arise when a character neglects the personal worth someone else may or may not find in something of specific value. For example, a Boss may find it of no direct Value, but placing a candy bar on each employees desk for them to find in the morning can have a lot of worth to the employee. Indirectly, then, Value is returned to the Boss in the form of a better day’s work. But seeing the indirect Value is difficult from the subjective view. Learning to see items and actions not just for their intrinsic Value, but for their conditional Value is a strong thematic message. • syn. utility, objective appraisal, general usefulness

From the Dramatica Dictionary