Sympathy • [Overview Appreciation] •  The audience will care about the Main Character, but it will not identify with him • Sympathy describes the relationship of the audience to a Main Character whom it cares about yet does not identify with. To identify with the Main Character, empathy is needed, but some story forms do not allow for empathy from either male or female audiences, and some exclude both at once. But sympathy can still be a strong emotion, and creating a storyform which will elicit sympathy can be a way to emphasize the intricacies in a story’s storytelling and Objective Story elements rather than its emotional side.

From the Dramatica Dictionary

Suspicion • [Variation] • dyn.pr. Evidence<–>Suspicion • questioning or forming a belief based on new evidence • Suspicion is a preliminary conclusion arrived at with insufficient evidence. It is valuable in helping one know what kinds of things to look for in gathering additional evidence. But it can also be a detriment because once a character suspects something, he is less likely to examine all the evidence for a completely alternative explanation. • syn. wary approach, partially justified apprehensiveness, informed doubt, doubt based on evidence, sensible caution

From the Dramatica Dictionary

Support • [Element] • dyn.pr. Oppose<–>Support • indirect assistance given to another’s efforts • Support is not direct help. Direct help is actively joining someone in an effort. Support is aiding the effort without actually participating in it. For example, a character possessing the Help characteristic would join someone in digging a ditch. The character representing Support would provide a shovel and cheer them on. Support is a fine thing to keep one’s spirits up, but is awfully frustrating when you just need someone to lend you a hand. • syn. commend, extol, endorse, back, compliment, laud

From the Dramatica Dictionary

Success • [Plot Dynamic] • the original goal is achieved • Every objective storyline in a Grand Argument Story has at its beginning a desired outcome to be sought after. Ultimately, the characters will either Succeed in achieving that outcome or fail to do so. However, Success is not always a good thing. For example, it may be that a character succeeds at something hurtful or evil. Even a well intentioned character might achieve something that he is unaware will cause harm. Whatever its quality, worth or ramifications, if the outcome desired at the story’s beginning is achieved, the story ends in Success.

From the Dramatica Dictionary

Subplot • [Storytelling] • a less developed story hinged to the main story • Subplots are often misunderstood to be secondary subordinate stories running in parallel to the main story. Such secondary stories are a valid storytelling technique but they are not Subplots. A Subplot in not a separate independent story but an amplification of a branch or aspect of the main story. Each Subplot is, indeed, a story in its own right but it is connected to the main story through one of the objective characters. This objective character does double duty as the Main Character (a subjective character) in the subplot. As a result, it is inappropriate to hinge a subplot around either the Main or Obstacle Characters of the main story as the two story lines would become blurred and create confusion as to the message intended. In order to keep Subplots from appearing to be the main story, it is important to draw them with less detail. This does not mean they should be incomplete or sketchy, rather that the Subplot should be explored in less depth. There can be as many Subplots as there are objective characters. A large number of subplots will become unwieldy, however, and can needlessly complicate the telling of a story, blurring or diverting the audience’s understanding of the main story. Similar to the Main Character of the main story, the Main Characters of the subplots should be limited to one story each. Not all “multiple plot” stories consist of subplots attached to a main plot. Frequently in serial programs such as soap operas, certain forms of episodic television, and some written serials such as comic strips, several complete stories run in parallel, connected only by their common setting or by using the same ensemble of characters. In this form of storytelling, characters do double duty, playing multiple roles in a number of separate plots which really do not directly affect each other. The point of note is that an author should be aware of the difference between subplot and multiple plot constructions so that the proper dramatic connections can be made to create the greatest impact.

From the Dramatica Dictionary

Subjective Story Type Order • [Plot Structure] • the progressive sequence of activites and/or concerns engaged in to arrive at a solution to the problem between the Main and Obstacle Characters, act by act • As the Subjective Story progresses act by act, it covers the Subjective Story Perspective (the Perspective created by matching the Subjective Story Domain with one of the four Classes) Type by Type around the quad of Types which it contains. These four explorations make up the four acts and describe the kinds of things that will have to happen in order to arrive face to face with the Subjective Story Problem.

From the Dramatica Dictionary

Subjective Story Solution • [Element] • the specific element needed to resolve the difficulties between the Main Character and The Obstacle Character • This is the item which will, if introduced, restore balance in the Subjective Story and neutralize the effects of the Problem by replacing it. It may not be actually implemented, but if it were adopted in the relationship between the Main and Obstacle Characters, it would end the source of their conflict and change their relationship.

From the Dramatica Dictionary

Subjective Story Line • the story as it relates to the relationship and conflict between the Main and Obstacle Characters • The passionate argument of a story is carried by the relationship between the story’s Subjective Characters– namely, the Main and Obstacle Characters. The examination of their internal states and the articulation of the story’s passionate argument makes up the Subjective Story Line. This is not the view from within the shoes of either the Main or Obstacle Characters, but is rather like an objective view of their subjective relationship. It is a view of their story together which always sees both of them.

From the Dramatica Dictionary

Subjective Story Problem • [Element] • the underlying cause of the difficulties between the Main Character and the Obstacle Character • This is the actual source of the inequity between the Subjective Characters which lies at the level of their motivations. Only by applying the Subjective Story Solution can the effects of this inequity finally be dealt with.

From the Dramatica Dictionary

Subjective Story Issue • [Variation] • The central thematic topic of the Subjective Story • Each of the four Domains (Objective Story, Main Character, Obstacle Character, and Subjective Story) has its own theme. This occurs because each Domain is really just a different point of view examining the same central inequity at the heart of the story as a whole. Each Domain, then, sees the troubles in a different light and is therefore drawn to a different standard of values by which to measure it. The thematic Issue in each Domain is that standard. The Subjective Story Issue is the most contentious of the four. This is because the Subjective Story itself is the most incendiary of the Domains, representing the clash of two diametrically opposed belief systems. So, the thematic Issue of the Subjective Story pertains to the Main and Obstacle Characters and everything that happens between them. An author will use the Subjective Story Issue to draw philosophic value judgments about the central subject matter of the story’s passionate argument. The audience will get a sense of what the heart of the story is all about, effectively, what the moralistic message is.

From the Dramatica Dictionary