Feeling • [Element] • dyn.pr. Logic<–>Feeling • an emotional sense of how things are going • Feeling is the mental process of seeking the most fulfilling course or correct explanation based on emotion. The Feeling characteristic believes “ya gotta have heart.” It cares not for what is efficient or even practical as long as it is “feels” right. This makes the Feeling characteristic very empathetic to the emotional atmosphere in a situation, yet apt to ignore or pay little attention to necessities • syn. empathy, emotional sensibility, affective outlook, sentiment, emotional assessment

Fate • [Variation] • dyn.pr. Destiny<–>Fantasy • a future situation that will befall an individual • The distinction between Fate and destiny is an important one. Destiny is the direction one’s life must take, Fate is any given moment along that direction. So whereas one can have many Fates, one can only have one destiny. Fate describes a state of situation and circumstance that exists at a particular point in time. In other words, Fate is something of an outcome, or perhaps a step — just one of a number of Fates along the path of one’s destiny. Characters often either make the mistake of assuming that they have only one Fate and are therefore stuck with it, or they mistakenly believe they can achieve their destiny without “passing through” unattractive fates that lie along the path. The nature of a Fate is that no matter how you try to avoid it, it tracks you. All options that you might exercise still lead to that Fate. That is what also defines Destiny as the limitations on free will that force you to arrive at your Fate no matter how you alter what you do or what kind of person you are. If we all knew the future, there would be no free-will • syn. inevitable events, unpreventable incidents, eventual events, destined occurrence, destined events, unavoidable situations

Fantasy • [Variation] • dyn.pr. Fact<–>Fantasy • belief in something unreal • Fantasy is something that although seemingly real, truly is not. Fantasies exist subjectively so they can either be misinterpretations of the meaning of actual things or internal fabrications of meanings that are not accurate. Neither one can be consciously intentional or one would be aware of the untruth of the Fantasy. Fantasies are not necessarily bad. In fact, they can be the best way for a character to clarify the nature of his goal. Maintaining the Fantasy allows one to practice responses so that Fantasy might actually turn into fact. Of course, when one lets a Fantasy grow such that it extends beyond the goal and into the means of evaluating progress toward the goal, the Fantasy can become self-sustaining and only imagined progress is ever made • syn. false belief, faith in the imaginary, delusion, erroneous conviction

Family • [Structural Term] • In the Dramatica structure, all units are divided into four major groups according to their most general natures. These groups are Elements, Variations, Types, and Classes. Each of these groups is called a Family.

Falsehood • [Variation] • dyn.pr. Truth<–>Falsehood • that which has been shown to be erroneous • Falsehood does not mean incorrect but in error. In other words, what is presented may be absolutely accurate and yet not reflect what is really going on. Perhaps only a portion of the truth is expressed or more information than is pertinent causes one to misconstrue. A danger is that Falsehood can get away from the control of its creator. Once an error has been passed off as truth, some will continue to accept it as truth even if it is recanted by the person that gave the False account • syn. erroneousness, untruth, erroneous notion, mistaken, astray, dishonest

Faith • [Element] • dyn.pr. Disbelief<–>Faith • accepting something as certain without proof • Faith is a belief in something without the support of proof. Since the future is uncertain, Faith in one’s ability to arrive at one’s purpose is a very strong motivator. However, when one has Faith, it cannot be argued with since it does not rely on logic or proof. The danger of Faith is that it does not allow one to determine if obstacles are signs that ones motivations are misplaced, because the obstacles seem to be tests that must be overcome through steadfast belief • syn. acceptance without proof, steadfast belief, confidence in unproven, credence, unquestioned trust

Failure • [Plot Dynamic] • the original goal is not 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 achieve that outcome or Fail to do so. The reasons for Failure (and in fact the Failure itself) may not be bad. For example, in the course of trying to arrive at an outcome, the characters may decide it was wrong to want it or learn that achieving it would hurt people. Whatever the reason, be it nobility or no ability, if the outcome desired at the story’s beginning is not achieved, the story ends in Failure.

Fact • [Variation] • dyn.pr. Fantasy<–>Fact • belief in something real • Fact is something that is truly real as opposed to just seeming to be real. Of course, from a character’s subjective view, when something seems to be real it is impossible to tell from actual fact. No matter how strongly a belief, understanding, or knowledge of something is held, subjectively there is always the possibility some change in the situation or additional information will prove it to be unfactual. Optical illusions are a good case in point. The moment a character accepts something as fact is the moment a thematic conflict might begin to grow. Nevertheless, Fact represents beliefs that turn out to be real. • syn. belief in the genuine, ultimately real beliefs, truly real beliefs, authentic notion, authentic idea, correct knowledge, correct beliefs

Experience • [Variation] • dyn.pr. Skill<–>Experience • the gaining of familiarity • Experience refers to the cumulative effect of observing or participating in mental or physical activities until they become familiar. However, just because the activities become second nature does not mean a character is necessarily good at them. To excel, a character need both Experience AND the innate Skills that can be honed by that experience. If either is lacking or deficient, the character’s real ability will be less than its Experiential potential. • syn. familiarization, level of practice, seasoning, accumulated feelings, accumulated dealings with

Expediency • [Variation] • dyn.pr. Need<–>Expediency • most efficient course considering repercussions • It is important not to consider Expediency as only meaning efficiency. In terms of story, Expediency describes what a character feels he must do or be in order to avoid potential consequences. These consequences can come from his environment, in the form of disapproval by others, or from within in the form of self-recrimination. If the perceived consequences are internal, Expediency feels like a “moral” pressure but is really the emotional retribution one flails against oneself for not living up to one’s own self-image. If they are external, Expediency feels like peer pressure or a threat to social standing. Expediency is as important an emotional motivation as Need is a motivator of reason. Since Expediency is based on avoiding future punishments or disappointments that may or may not be real, dramatic tension can be easily created between the subjective and objective views. A way to think of Expediency is that when it pops up, characters who are being influenced by it will think of it in terms of “Should.” “I should really do this, even though I may not want to.” • syn. advisability, convenience, prudent efficiency