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.

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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.

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Skill • [Variation] • dyn.pr. Experience<–>Skill • inexperienced ability • Skill is the innate potential to accomplish either that which is physical or mental. It does not require the practical experience necessary to tap that potential, just that the latent capacity exists. Skill might be seen as raw physical ability, talent, or intellectual or emotional aptitude which may or may not ever be developed. • syn. proficiency, aptitude, competence, adeptness, degree of expertise, practiced ability, honed ability

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Skeptic • [Archetype] • An Archetypal Character possessing the qualities of disbelief and oppose • If a Sidekick is a cheer leader, a Skeptic is a heckler. The Skeptic still wants to see its team win, but doesn’t think it can and is sure this is because the team members are going about it all wrong. Therefore, the Skeptic exhibits disbelief and opposes all efforts. Of course, when the team really is misguided, the Skeptic is in fact right on track. As with all Objective Archetypes, the Skeptic applies it’s outlook to hero and villain alike. In other words, the qualities of disbelief and oppose describe the nature of the Skeptic – not just it’s opinion about a particular issue. So, the Skeptic also doubts the bad guys are as powerful (or bad) as they are said to be, and opposes them as well. One purpose of stories is to illustrate how well different personality types fare in the effort to solve a particular kind of problem. Archetypal Characters represent the most broad categories into which personality types might be categorized. The Skeptic provides the opportunity to explore how well a doubter and naysayer does in resolving the story’s troubles.

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Situation • [Variation] • dyn.pr. Circumstances<–>Situation • a logistic assessment of one’s environment • Situation describes the ins, outs, and practical considerations of the environment in which a character finds himself. Throughout a story, the situation may evolve or may remain constant, depending upon the essence of the message and the nature of the plot. Since it is limited to the practical, Situation can only be measured and/or interpreted though Reason. • syn. how things stand rationally, a reasoned evaluation of environment, arranged context, environmental state, surroundings, predicament

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Sidekick • [Archetype] • An Archetypal Character who represents the qualities of Faith and Support • The Sidekick is the absolutely faithful and supportive member of the Archetypal character set. Although frequently attached to the Protagonist, the Sidekick is identified by what his qualities are, not by who he is working for. In fact, the Sidekick might be attached to the Antagonist or not attached at all. His function is to represent the qualities of faith and support, not specifically to be in service of any other character. However, if the Sidekick is bound to the Protagonist, he can be effectively used to mirror the Author’s feelings about the conduct of the Protagonist. Moving scenes can be created by a misguided Protagonist actually alienating the faithful, supportive Sidekick. Although the Sidekick would never turn against the Protagonist, he can turn away from him, leaving rather that being a party to something he finds immoral or disappointing.

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Senses • [Variation] • dyn.pr. Interpretation<–>Senses • sensory observations • Senses refers to the raw data supplied to the mind to interpret. Sometimes the data is accurate, other times it is faulty even before the mind gets hold of it. Senses describes the overall accuracy of an observation (such as seeing a crime or checking the results of a test). When taken in conjunction with its Dynamic Pair of Interpretation, all manner of error or accuracy can be created. This provides the author with a powerful storytelling tool to create comedies and tragedies based in error and misunderstanding. • syn. perceptual data, raw sensations, sensory impressions, immediate impressions, perceptions

From the Dramatica Dictionary