Objective versus Subjective Perspectives • In Dramatica, we can examine a story from the outside as a dispassionate observer, noting the relationship of Character to Plot to theme. We can also examine a story from the inside, by stepping into the shoes of the Main Character to discover how things look to himself. In the first case, we see the story like a general watching a battle from atop a hill. We are concerned with the outcome, but not actually involved. This is the Objective perspective. In the second case, we see the story from the point of view of a Main Character. This is more like the view of a soldier in the trenches. We are watching the same battle, but this time we are personally involved. This is the Subjective perspective. An audience is provided access to both Objective and Subjective views by the author. When the audience is only shown information that the Main Character also receives, it is in the Subjective perspective. When the audience receives additional information that the Main Character does not receive, it is in the Objective perspective. The dramatic potentials of a story are largely created by the differential between the Objective and Subjective perspectives. At appropriate times, Dramatica aids the author in focusing his attention on the perspective that will most effectively support his dramatic intentions.

From the Dramatica Dictionary

Objective Story Type Order • [Plot Structure] • the progressive sequence of activites and/or concerns engaged in to arrive at a solution to the story’s objective problem, act by act • As the Objective Story progresses act by act, it covers the Objective Story Perspective (the Perspective created by matching the Objective 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 Objective Story Problem.

From the Dramatica Dictionary

Objective Story Solution • [Element] • The quality necessary to resolve the Objective Story’s Problem • If the Objective Story Problem is seen as a disease, the Solution would be the cure. The Solution cannot be directly applied, however, because many obstacles stand in the way. Overcoming the obstacles is the Goal of the story, so that the nature of the Goal reflects the nature of the obstacles. The Requirements of the Goal describe the necessary accomplishments which will overcome the obstacles and thereby allow the Goal to be achieved. There is, however, one hitch. The final Requirement cannot be met unless the Main Character is properly positioned to enable it. Sometime this requires the Main Character to stay where it is (Steadfast) and other times to adopt a new position (Change). The internal conflict within the Main Character will either lead it to a new point of view or entrench it in a new one. Depending on that dynamic, the Main Character will either adopt a new position in the story or stay at the old one, resulting in the eventual Success or Failure of the effort to achieve the Goal. Authors will use the Solution to stress that the story’s Problem can indeed be Resolved if everything falls into place, thereby making it worth the audience’s time to see if it ultimately does. When the potential Solution is not illustrated up front, the characters’ efforts in response to the Problem seem to be futile exercises rather than a message illustrating the most worthwhile approaches.

From the Dramatica Dictionary

Objective Story Line • the plot as it concerns the story goal • The Objective Story Line is a distinct act by act sequence of events that involves all of the Objective Story appreciations and none of the Subjective Story appreciations. It represents the dispassionate argument of the story, emphasizing events and relationships in a purely cause and effect way. This is not to say that it has nothing to do with the meaning of a story, only that it is not the WHOLE story. Meaning in stories comes from comparing the Objective view of a story with the Subjective view that comes from within the story.

From the Dramatica Dictionary

Objective Story Issue • [Variation] • The central thematic topic of the Objective 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 Objective Story Issue is the most wide-ranging of the four. This is because the Objective Story itself is the most all-inclusive of the Domains, representing a distanced view of the story that takes in the bigger picture. So, the thematic Issue of the Objective Story pertains to everyone and everything that happens. An author will use the Objective Story Issue to draw broad value judgments about the overall subject matter of the story as a whole. The audience will get a sense of what the grand scheme of the story is all about, effectively, what the underlying message is.

From the Dramatica Dictionary

Objective Story Inhibitor • [Variation] • The kind of item which serves to impede the Objective Story’s progress • The Objective Story Inhibitor is what prevents a story from just rushing full speed to the solution. It is like a brake mechanism which can be applied as the author pleases. The introduction of this item will always slow the progress of the story and it works as the antidote to the Objective Story Catalyst.

From the Dramatica Dictionary

Objective Story Focus • [Element] • The principal symptom of the Objective Story’s Problem • If the Objective Story’s Problem is seen as a disease, the Solution would be the cure. The Focus, however, would be the principal symptom. Since the symptoms of a disease are more apparent than the disease itself, the symptom is called the Focus, because the attention of the Objective Characters is focused there. Even if the Objective Characters are aware of the true nature of the Problem itself (which they may or may not be), they will be more riveted to the immediate effects created by the Focus.

From the Dramatica Dictionary

Objective Story Domain • [Domain] • the realm in which the Objective Story takes place; the background against which the overall story is played • Stories are about meaning. Meaning is created from perspective. Perspective is the relationship between what is being examined and the point of view from where it is seen. Simply put, an author determines the subject matter of a story and how he sees it. This is what becomes the message or meaning of the story. There are four principal points of view which must come into play in all complete stories. They are the Objective, Main Character, Obstacle Character, and Subjective views. The Objective view of a story is the widest view, examining the issues that affect all the characters in the story overall. There are four principal categories of subject matter (called Classes). They are Universe, Mind, Physics and Psychology. In more conversational terms we might think of them as (in the same order) Situation, Attitude, Activity, Manner of Thinking. In reality, they represent external and internal states of affairs and external and internal processes. Anything we might consider as subject matter can be broadly categorized as being an external or internal state or process. When a point of view is attached to the subject matter, the Class of subject matter becomes the Domain or realm in which that point of view does its exploring. So, when the Objective view is associated with a Class, that Class becomes the Objective Story Domain. The Objective Story Domain examines the issues that affect all of the characters, story wide. An OS Domain of Universe means that some fixed external situation is causing troubles for the characters, such as being trapped in a cave. An OS Domain of Mind means that fixed attitudes are the problem, such as a town that shares a prejudice. An OS Domain of Physics means that the story’s difficulties arise from an activity, such as a safari into dangerous territory. And OS Domain of Psychology means that the way people think is the overall source of problems, such as a group of people gathered for a reunion who find fault with each other.

From the Dramatica Dictionary

Objective Story Catalyst • [Variation] • The kind of item which serves to push the Objective Story forward • The Objective Story Catalyst is what creates breakthroughs and seems to accelerate the development of the Objective Story. In both the Objective and Subjective Stories there occur dramatic “log-jams” when things seem to be approaching a halt. This is when the Catalyst is necessary, for its introduction will either solve the puzzle that’s holding things up or else make the puzzle seem suddenly unimportant so the story can continue.

Objective Story Catalyst • [Variation] • The kind of item which serves to push the Objective Story forward • The Objective Story Catalyst is what creates breakthroughs and seems to accelerate the development of the Objective Story. In both the Objective and Subjective Stories there occur dramatic “log-jams” when things seem to be approaching a halt. This is when the Catalyst is necessary, for its introduction will either solve the puzzle that’s holding things up or else make the puzzle seem suddenly unimportant so the story can continue.