Sense-Of-Self • [Variation] • dyn.pr. State of Being<–>Sense of Self • one’s perception of oneself • Simply put, Sense of Self is our own Self Image. A character may not truly know who he is but he always knows who he thinks he is. This inward-looking view may be right on the mark or not even close. The difficulty a character has is that from inside himself it is impossible to be sure who he is. All he can do is take clues from the reaction of those around him. Interesting storytelling sometimes places a character among those who provide a warped feedback that creates a false Sense of Self in the character. This erroneous image may be far better, far worse, or simply different than his actual state of being. Other stories force a character to come to grips with the fact that he is wrong about himself, and the opinions of others are accurate. In a Main Character, the differential between Sense of Self and State of Being is part of what separates the Subjective from the Objective story lines. • syn. perception of self, self image, self identity, self attribution

From the Dramatica Dictionary

Self-Interest • [Variation] • dyn.pr. Morality<–>Self-Interest • doing or being based on what is best for oneself • In its pure form, Self-Interest is defined as the quality of ALWAYS choosing what is best for oneself with NO consideration as to the effect on others. This does not require ill intent toward others. A character who is Self-Interested simply focuses on the personal ramifications of decisions. In fact, in stories that show the evil nature of an oppressive society or regime, Self-Interest can be a very positive thing. • syn. self-serving, self-centered, narcissistic, selfishness, self-absorbed, egocentric

From the Dramatica Dictionary

Self-Aware • [Element] • dyn.pr. Aware<–>Self-Aware • being conscious of one’s own existence • When a character possesses Self-Awareness he fully appreciates all his feelings, thoughts, abilities, and knowledge. Everything he experiences or observes is couched in terms of his own point of view. As the downside, he may not be able to understand that some things that happen don’t pertain to him at all and in fact happen best without him. • syn. self-conscious, conscious of one’s existence, self-perceiving, self-appreciating, self-cognizant

From the Dramatica Dictionary

Security • [Variation] • dyn.pr. Threat<–>Security • an evaluation of one’s defenses and protections • Before one can expand to greater achievements, it is important to protect what one has already achieved. When a character is concerned with Security, he builds defenses against threats both known and anticipated. However, actual dangers may or may not fall within the ability of the protections to keep one secure. Subjectively, a character must determine when he feels secure, based on his experience. For example, a famous comedian once related that he always bought so many groceries he had to throw many away when they spoiled. This, he said, was because he had gone hungry so often as a child. When a character’s experiences motivate him to over or under prepare for dangers, Security may actually become a danger itself. • syn. evaluation of safety, measure of safeguards, appraisal of one’s protections, gauge of defenses

From the Dramatica Dictionary

Scene • [Dramatica Definition] • a temporal unit of dramatic construction usually employed in Plays, Screenplays, and Teleplays. • Although there is some variation, Scene is usually defined as all of the dramatic events which occur in a single place and time until either place or time changes. In Screenplays and Teleplays, Scenes are numbered in the original draft sequentially according to every change in location or time. For example, each scene would begin with the format, INT or EXT (for Interior or Exterior) followed by the location’s name, such as JOE’S GARAGE. The final information is the time, which in Screenplays is usually limited to DAY or NIGHT, although other variations occur if absolutely necessary to convey specifics. Most Stage Plays are divided into Acts, which represent complete dramatic movements in the overall story. Each Act is usually sub-divided into two or three Scenes, which are identified as all the action and dialog which takes place in a single location and time. So, Act 1, Scene 2 might be: Joe’s Garage ~ later that evening. A less common usage of “Scene” is as a unit representing a complete dramatic movement, such as an argument that begins, develops, and resolves. Although in a dramatic sense this is a useful application of the word, in practice, complete dramatic movements are often segmented and intermixed for storytelling purposes to create parallel action, delayed payoffs, and many other interest generating techniques. In keeping with the most common definition, Dramatica uses “Scene” to mean everything that takes place consecutively in a single place and time.

From the Dramatica Dictionary

Result • [Element] • dyn.pr. Process<–>Result • the product of a process; the ramifications of a specific effect • Result is a holistic view of all the pertinent end products of a process. When a cause generates an effect, how does the effect upset the overall balance of a situation? In a balance of power, one must consider the results of arming an ally not just the immediate effect of strengthening its military. The character possessing the Result characteristic considers the ripples that might occur because of a given effect. The negative aspect is that it often over-thinks the situation until its considerations are ranging far beyond the scope of any real concerns. This can inhibit useful actions for insignificant reasons. Stop a new factory that will create jobs to protect a previously unknown species of gnat? It depends on the scope of the concern. • syn. ramifications of an effect, consequence, repercussion, impact, end product

From the Dramatica Dictionary

Responsibility • [Variation] • dyn.pr. Commitment<–>Responsibility • taking, accepting, or assuming control to the exclusion of others • Responsibility is a determination of who will have control and also be held accountable should control not be successfully exercised. Responsibility can be taken, given, assumed, and relinquished. In practice, the desire for power or control often leads individuals to leverage a position as decision maker to the exclusion of others. The drive that grows from self-interest is Responsibility. The problem occurs when a character believes he knows what is best for someone and that someone doesn’t agree. “It’s for your own good,” and “This is going to hurt me more than you” are two expressions that exemplify this attitude. Sometimes the character is right in believing he knows best, other times not. Responsibility can both be given or taken, assumed or presumed, accepted or declined. • syn. assumed propriety, believed appropriateness, self designated aptness, accepted suitability

From the Dramatica Dictionary

Resolve • [Character Dynamic] • the ultimate dispostion of the Main Character to Change or Remain Steadfast • There are two major ways in which an author can illustrate the best way to solve the problem explored in a story. One is to show the proper way of going about solving the problem, the other is to show the wrong way to solve the problem. To illustrate the proper way, your Main Character should hold on to his resolve and remain steadfast because he truly is on the right path. To illustrate the improper way of dealing with a problem, your Main Character must change for he is going about it the wrong way.

From the Dramatica Dictionary

Requirements (Objective Storyline) • [Type] • the necessary pre-cursors to achieving the goal • Achieving a goal is not a one-step activity. Rather, all the cogs and wheels of a situation must be adjusted and realigned first in order to enable the goal. That can entail taking a certain number of steps in sequence and/or involve “tuning” the orchestra of the dramatics until they support the harmony of the goal. Both the sequential and holistic approach to these pre-requisites and pre-conditions are described by the nature of the overall requirement to achieving the goal. In other words, the requirement describes the condition requisite to the goal and is made up of pre-requisites and pre-conditions.

From the Dramatica Dictionary

Repulsion • [Variation] • dyn.pr. Attraction<–>Repulsion • disattration; pushing or being pushed away from • A character’s path to his goal is blocked by many curtains. The future beyond each cannot be seen until he has passed through to the other side. Sometimes the curtain itself is attractive, encouraging one to continue. Other times it is negative, indicating danger or loss, or that something unsavory lies behind. This is the nature of Repulsion. The warning is, “I’d go back if I were you” or “Don’t spit into the wind.” But does the curtain truly represent something distasteful that waits beyond or is it simply a false front, a mask to scare off the less tenacious? • syn. unattractive, repellent, foreboding, unsavory, pushing away, forcing back

From the Dramatica Dictionary