Obstacle Character’s Problem • [Element] • The source of the Obstacle Character’s drive • In every Obstacle Character there exists some inequity that is driving him. If the Obstacle Character Changes something in himself in response to the Main Character’s Steadfastness, it is this item, his Problem, which he changes by exchanging it for his Solution. If the Obstacle Character is Steadfast, though, then he holds onto his problem, deepening his resolve to keep the same motivations at the end of the story as he had when he began the story.

From the Dramatica Dictionary

Obstacle Character’s Issue • [Variation] • the thematic focus, topic, or value standard by which the Obstacle Character’s impact is judged • An Obstacle Character’s Issue captures the essence of what that character will represent in the story. The nature of the things he does, intends to do, and what he means to the passionate argument of the story are all linked in this appreciation.

From the Dramatica Dictionary

Obstacle Character’s Focus • [Element] • Where the Obstacle Character’s attention is centered • The Obstacle Character concentrates his attention where he thinks his problem lies. Just as in the Main Character, an inequity exists in the Obstacle Character between himself and his environment which is driving him. The actual nature of this inequity is described by the Obstacle Character Problem Element. The nature of what is required to restore balance is described by the Obstacle Character Solution Element. From the Subjective view afforded to the Obstacle Character though, the inequity does not appear to be between himself and the Environment but wholly in one or the other. The Focus Element describes the nature of how the problem appears to the Obstacle Character from his Subjective point of view. Focus really describes the effects of the Obstacle Character Problem element, but because the Problem element is on the level of his own motivations, Subjective Characters can never see his actual problems without solving them.

From the Dramatica Dictionary

Obstacle Character’s Domain • [Domain] • The broadest area of the Obstacle Character’s impact • Everything that emanates from what the Obstacle Character does and represents which primarily relates to his impact alone, as opposed to specific relationships he has with other characters, can be said to be part of the Obstacle Character Domain. There are four different Domains in the structure of any story, represented by the combination of each of the four Classes with each of the four throughlines– the Objective Story Throughline, the Subjective Story Throughline, the Main Character Throughline, and the Obstacle Character Throughline. The Obstacle Character Domain describes, in the broadest single term, what the Obstacle Character represents and the area in which the Obstacle Character operates within the story.

From the Dramatica Dictionary

Obstacle Character’s Direction • [Element] • The direction of the Obstacle Character’s efforts • An Obstacle Character can never be sure if what he believes to be the source of his problem really is the source of his problem. Regardless, based on his way of seeing things, he will determine a potential solution or Direction in which he hopes to find the solution. The dramatic unit that describes what a Subjective Character believes is the path to a solution is his Direction.

From the Dramatica Dictionary

Obstacle Character’s Critical Flaw • [Variation] • The item that undermines the Obstacle Character’s unique ability to impact the Main Character • The Obstacle Character’s Critical Flaw undermines his effectiveness against the Main Character in general, but especially in regards to his Unique Ability. The Obstacle Character in any story has a Unique Ability which makes him uniquely qualified to thwart the Main Character. But in his character as well is a Critical Flaw which prevents him from just totally overwhelming the Main Character. This is again a trait which is unique to this particular character.

From the Dramatica Dictionary

Obstacle Character’s Concern • [Type] • The area of the Obstacle Character’s principal cares, interests, and goals; the area of the Obstacle Character’s greatest impact on the Main Character • The Obstacle Character will be interested in achieving some degree of growth or control over things described by this appreciation. This could be in terms of concrete or abstract things, depending partly on the Obstacle Character’s Domain and partly on the twist the author wants to put on that Domain.

From the Dramatica Dictionary

Obstacle Character’s Benchmark • [Type] • The standard against which the Obstacle Character’s degree of impact is measured • The way of telling how much the Obstacle Character is affecting the Main Character is seen through this measuring stick. It can be subtle or obvious, illustrated perhaps by the number of empty beer cans next to an alcoholic’s bed, the severity of a facial tick, or the amount of perfume a character puts on. However it is illustrated, it needs to be there to give both the audience and the Obstacle Character some way of judging how effective his impact is and how much energy he has left to employ.

From the Dramatica Dictionary

Obstacle Character • [Subjective Character] • The Subjective Character that forces the Main Character to face his personal problem • Every Main Character has a single Obstacle Character that forces him to face his personal problems. From the Main Character’s point of view, the Obstacle Character may seem to be blocking the road to the solution of the Main Character’s personal problem, or he may seem to be trying to knock the Main Character off the road to the solution. In a more objective view, the Obstacle Character functions to block the Main Character from sweeping his personal problem under the carpet, forcing the Main Character to address it directly. In every act, a story problem is introduced that requires the Main Character to expose his personal problem in order to solve the story problem. It is the Obstacle Character that creates the most personal tension for the Main Character. Frequently, the Main Character is chosen by the author to be the Protagonist as well, and often the Obstacle Character function is combined with the Guardian or the Contagonist. In this way, they each do double duty as prime movers of both the objective and subjective concerns of the story. This arrangement is not essential, however, and in many cases it is prudent to assign the Main and Obstacle Character roles to characters other than the Protagonist and Guardian/Contagonist in order to clearly explore the relationship between the Objective and Subjective problems of the story.

From the Dramatica Dictionary

Obligation • [Variation] • dyn.pr. Rationalization<–>Obligation • accepting a task or situation in exchange for someone’s earlier or potential favors • Obligation is a mental trick we play when we accept a poor situation now in the hopes it will lead to a better one later. If we do not feel Obligated, we know we are really in control of the situation since we can leave at any time. However, we would then lose any chance of a reward at the end and even risk consequences that might befall us as a result of leaving. But by focusing on the hope of a reward and protection from consequences, our current suffering can be tolerated and we feel we have no choice but to stick it out. The problem is that as long as we continue to feel we have no choice, the suffering can increase way beyond any realistic hope of recouping and yet we “must” stay. • syn. agreement, pledge, contract, accepted compulsion, emotional contract

From the Dramatica Dictionary