Attraction • [Variation] • dyn.pr. Repulsion<–>Attraction • drawing or being drawn to something • How hard should one try? How much work should one do? This is modulated by the Attraction of what one is trying to achieve. Attraction is a directional factor that indicates what lies ahead is a positive reward. When a character strives toward a goal, he passes many veils along the way. Each one is a curtain to the future that must be ripped away to see what lies beyond. Attraction describes the nature of the curtain itself. Can you judge the pleasure of a book by the art on its cover? In the parable of the carrot and the stick, Attraction is the carrot. • syn. allure, enticement, charm, captivate, appeal, draw, lure

Attitude • [Variation] • dyn.pr. Approach<–>Attitude • demeanor or outlook • Attitude describes the manner in which a character proceeds with an approach. One character might be hard-driven, another laid back. One may be willing to sacrifice efficiency for the sake of a pleasant approach. Another might sacrifice pleasure in order to make the approach most efficient. Sometimes an approach can be pushed too hard or not hard enough. It requires not only the proper approach but the appropriate attitude to arrive at the solution to a problem. • syn. demeanor, manner of approach, countenance, behavioral outlook, perspective on doing

Attempt • [Variation] • dyn.pr. Work<–>Attempt • applying oneself to something not known to be within one’s ability • When there is a question as to the match-up of one’s abilities to the demands of a task, one may still elect to attempt to complete the task. However, sometimes a character will lose sight of the purpose of the task or underestimated his progress and actually complete the work while continuing to try beyond the point originally aimed at. Why does one beat a dead horse? Why does a billionaire struggle to earn one more million? • syn. try, uncertain undertaking, speculative endeavor, dubious effort, endeavor, unlikely venture

Argument • [Dramatica Term] • the progression of logistic and emotional meanings that combine to prove a story’s message • A story’s message is proven by a progression of logistic (dispassionate) and emotional (passionate) meanings which are created by the interactions of Character, Plot, Theme, and Genre. The dispassionate argument is the story’s contention that a particular approach is the most appropriate one to solve a particular problem or achieve a goal in a given context. The passionate argument is the story’s contention that one world view is better than another in terms of leading to personal fulfillment. An author can use his story’s argument to convey his message directly, indirectly by inference, or by making an exaggerated argument supporting what he is against. (Also see Grand Argument Story.)

Archetypal Characters • Of all the ways the 64 elements of Character elements might be grouped, there is one arrangement that is akin to an alignment of the planets. When all elements from each “family” of like elements are placed in individual characters, eight Archetypal Characters are created. They are Archetypal because their homogeneous nature accommodates all levels a character must have to be fully dimensional, yet line up by content so well there is little internal dissonance. Archetypal Characters are useful in stories that seek to concentrate on plot, action, or external themes. This is because they do not “get in the way” or clutter the Author’s purpose. Because they are so predictable, however, Archetypal Characters are not easily used to explore the human psyche and are most readily employed in stories designed more for entertainment than message.

Approach • [Character Dynamic] • The Main Character’s preferred method of general problem solving as a “Do-er” or “Be-er” • By temperament, Main Characters (like each of us) have a preferential method of approaching problems. Some would rather work things out externally, others would rather work things out internally. There is nothing intrinsically right or wrong with either approach, yet it does affect how one will respond to problems. Choosing “Do-er” or “Be-er” does not prevent a Main Character from using either approach, but merely defines the way he is likely to first approach a problem, using the other method only if the first one fails.

Approach • [Variation] • dyn.pr. Attitude<–>Approach • technique or methodology • Approach is the manner in which a character seeks the solution to a problem. It might be though of as his style or modus operendi. It might be a specific method or just a general set of tools or guidelines that is consistently used. These tools can be physical or mental ones, depending upon the nature of the task and the intended outcome (if any) • syn. method, procedure, style, manner, manner of doing, one’s own way.

Appreciations • story points; dramatic concepts • Appreciations are items of dramatic meaning that are common to all stories. Meaning is created when an identifiable topic is seen from a particular point of view. This creates perspective which takes into account both the observation and the observer. In complete stories, there are four principal viewpoints at work: Objective Story, Main Character, Obstacle Character, Subjective Story. Each viewpoint has its own unique Appreciations, though they parallel and match item for item the Appreciations from another viewpoint. In addition, some Appreciations are from a wider view, describing the relationship among the viewpoints and the dramatic results of their combined perspectives. In this manner, a story structure built from these Appreciations will cover all the topics and viewpoints necessary to fully explore an issue central to them all. Common Appreciations include such dramatic items as Goal, Requirements, Problem, Concern, and Outcome.

Appraisal • [Variation] • dyn.pr. Reappraisal<–>Appraisal • a limited initial assessment • Not everything requires a complete evaluation. In fact, we are assualted by many new observations that we cannot possibly evaluate each fully. Instead, we make an Appraisal of what we encounter and use that limited assessment to determine our response, if any. This approach as the advantage of allowing us to deal more or less effeciently with an onslot of iimpressions and experiences. Of course, since this Appraisal is based on limited evidence, the real picture may be quite different than the thumbnail sketch. Yet, people are strongly influenced by first impressions and can become attached to an Appraisal without ever reconsidering it to see if it was incomplete or if things have changed. • syn. first impression, preliminary understanding, initial approach, initial assimilation.

Apparent Work • [Overview Appreciation] • In an Apparent Work story, the Goal will fail if the Main Character stays on course. For the Goal to succeed he must adopt a new path. Of course, the Main Character cannot see the future and therefore can never be absolutely sure if he should change or not. That is why Main Characters must often make a “leap of faith” at the moment of climax and decide to Change or Remain Steadfast. Other times, the Main Character is slowly drawn towards his Resolve of Changing or Remaining Steadfast, however it is still must be made clear which way he’s gone by the end of the story. In stories where the Main Character Remains Steadfast and fails as a result, the assessment that only Work was needed was merely Apparent, not Actual