Effect • [Element] • dyn.pr. Cause<–>Effect • the specific outcome forced by a cause • Effect is the end product of an effort or series of efforts. One might argue its pros and cons, yet ignore how the Effect came to be in the first place. On the plus side, concentrating on Effect keeps the effort focused on the problem or goal. On the minus side, it can lead to beating a dead horse. Failure may follow if one puts all one’s efforts into dealing with the Effect while ignoring the cause. Should a mayor add to the police force to battle crime or improve social services? • syn. result, consequence, outcome, culmination, the ensuing

Dynamics • Dramatic forces that determine the course a story will take. • The power of a story is divided between two realms. First is the structure that represents the dramatic potentials that exist in character, plot, and theme at the beginning of a story. Second are the dynamic forces that will act upon the dramatic potentials to change the relationship between characters, change the course of the plot and develop the theme as the story unfolds. In Dramatica, choices between alternative forces such as “Success or Failure” and “Change or Steadfast” determine the dynamics that will act upon a story.

Dynamic Pair • [Structural Term] • A pair of items whose relationship is that they are extreme opposites • In any given quad, Dynamic Pairs are represented as two items that are diagonal to each other. A quad consists of four items and therefore contains two Dynamic Pairs. Their relationship can imply conflict, or it can imply synthesis. These are the negative and positive aspects of Dynamic Pairs.

Driver • [Plot Dynamic] • the kind of activity pushes the overall story forward, Action or Decision • Action or Decision describes what triggers the story’s unfolding and what keeps it going when it runs out of steam. The primary concern is the kind of storytelling you want to do. If you want action to be driver of your plot, choose action. If you want decision (deliberation) to be the driver of your plot, choose decision.

Dramatica Terms • [Dramatica Definition] • the names of dramatic concepts unique to Dramatica, commonly used dramatic terms redefined in Dramatica • The Dramatica theory of story is so wide-ranging that, in some cases, dramatic relationships and story points are described for which no pre-existing term was available. To fill this void, several different approaches were taken. Sometimes, words not normally associated with dramatics were called into service, such as Catalyst and Inhibitor. Other times, existing dramatic terms were more precisely defined, or redefined to meet a particular descriptive need, such as Main Character meaning the audience position in a story and NOT meaning a hero nor a Protagonist. As a last resort, completely new words were coined to describe unique concepts when no other appropriate words already existed, such as Contagonist. Although Dramatica’s use of terminology is the biggest hurdle to quick understanding, it is also its greatest strength for it allows the theory and software to describe dramatics with far greater precision than previously possible.

Doubt • [Variation] • dyn.pr. Investigation<–>Doubt • questioning validity without investigating to be sure • Here Doubt is defined as the lack of faith that evidence leads to a certain conclusion. This means that even though evidence supports a particular concept, the character is unwilling to abandon the belief that alternative explanations can be found. Certainly this approach has the advantage of keeping one’s mind open. But sometimes a mind can be too open. If a character Doubts too much, he will not accept solid evidence no matter how conclusive. This can prevent the character from ever accepting the obvious truth and continuing to labor under a delusion. • syn. pessimism, uninformed misgivings, uncertainty, trepidation, distrust

Domain Act Order • [Plot Structure] • the area in which the solution to the story’s problem is sought, act by act

Domain • [Domain] • An item that describes the area in which any one of the four throughlines occurs–Main Character, Obstacle Character, Objective Story, and Subjective Story • There are four Domains in every complete story, each representing a different perspective in the structure of that story. One is assigned to the Objective Story Throughline and contains the appreciations attributed to the dispassionate argument of the story while also describing the area in which the Objective Story occurs. Another is for the Subjective Story Throughline and contains the appreciations which concern the passionate argument of the story and describe the relationship between the Main and Obstacle Characters. The Main and Obstacle Character Throughlines are each assigned Domains as well, which contain the appreciations attributed to their character and describe the area in which they each operate. Each Domain is the matching of a particular Class (either Universe, Physics, Psychology, or Mind) with a particular throughline (either Objective Story, Main Character, Obstacle Character, or Subjective Story). Each Domain describes the general area in which the problems of its throughline will lie and from what perspective the audience will be directed to view those problems. Domains determine large, genre-like positions in the relationship of audience to story.

Doing • [Type] • dyn.pr. Obtaining<–>Doing • engaging in a physical activity • Doing is the process of being physically active. In and of itself, Doing does not require any purpose but simply describes engaging in a process, task, or endeavor, whether for pleasure or by necessity or compulsion. • syn. performing, executing, effecting action, acting

Do-er • [Character Dynamic] • As an approach, the Main Character prefers to adapt his environment to himself • Every Main Character will have a preference to deal with problems by either physical effort or by mental/emotional effort. When a Main Character prefers working in the external environment, he is a Do-er.