A Writer Asks…

Can you skip over some of the story encoding questions to answer one’s further down the list that you know or at least understand? Also, do you have to answer all the story encoding questions, or does Dramatica fill in the blanks at a certain point?

My Reply…

Because the Dramatica Story Engine is non-linear, it is more like a Rubik’s Cube of Story Elements you can twist and turn by answering questions. The pattern you create is completely in your control, yet you may not be able to predict what is going to happen on the backside of the cube after a few moves until you look to see what’s there.

As a result of this holistic approach to a model of story, you can answer the questions in any order and skip over any questions you would like. As you answer questions, Dramatica fills in the answers to other questions you have already chosen by your previous answers in a round about way. When you have answered enough questions, the cube “freezes” because you have made enough choices about your pattern that only one combination of pieces can do the job. That is your Storyform.

As for filling in the encoding (storytelling), Dramatica will never do that. It can fill in the Storyforming to make sure the “cube” is accurate, but since any given dramatic appreciation (story point) can be encoded in an infinite number of ways, there is no way for Dramatica to draw on that potential without a huge database. In fact, Dramatica is not driven by database at all, but by a Story Engine which is based on the relationships among essential dramatic elements.

In contrast, at the MIT Media Lab, they have worked toward building such a mammoth database, effectively trying to create viable story structures with the electronic equivalent of one million monkeys pounding on one million typewriters. Looking to the future, someday this approach might come to work in conjunction with the story structuring capacity of Dramatica, but for now, what MIT’s Cray supercomputer models need gigabytes of databases to do for Storyencoding (storytelling), Dramatica is able to do for Storyforming (structure) on your desktop with its revolutionary Story Engine core that is actually only 27 kilobytes in size! (Keep in mind, a Rubik’s Cube has only 27 pieces, but creates forty trillion trillion combinations!)

Many people are confused about where to go in the Dramatica software to create a story. There are a number of choices from the Main Desktop, but which one should be used FIRST?

Actually, it’s just a matter of personal preference. You see, the Dramatica software is built around a single story engine that keeps track of the dramatic relationships among your characters, plot, theme, and genre. All the different ways of creating a story that the software offers are just different ways to tap into the same engine. In fact, whatever work you do in one area automatically shows up in all the other areas as well.

Three popular areas in the software for constructing a storyform are the Story Engine, Theme Browser, and Query System. The Story Engine you get to from the Main Desktop, is NOT the same story engine that runs the software – they just share the same name. Why? Because the Story Engine area taps into the underlying story engine most directly.

The Story Engine area lists a number key story points and then asks you to select the thematic content of each story point through the use of pull-down menus. In a sense, the Story Engine is telling you that every story has the same “empty” story points, such as Goal, Main Character Problem, and Outcome. But, the thematic nature of each differs from story to story. For example, the Goal in one story might be Obtaining something, while in another story the Goal is Becoming something. Both have a Goal, but each with a different thematic nature or content.

While some authors prefer to develop a story by adding thematics to a raw structure, others prefer to choose their subject matter first, and THEN figure out how it works structurally. This is why the Theme Browser was created.

Rather than listing story points and asking you to choose the thematics for each, the Theme Browser lists the thematics (subject matter) and asks you to choose where it shows up in the structure (as which story point.). So, in the Theme Browser and author can scan through all kinds of subject matter, picking out the topics he or she wishes to explore in a story and THEN determine where it shows up.

For example, an author might want to explore the nature of possessing things, and pick Obtaining on the Theme Browser as the subject matter. Then, by using the pop-up menus, he or she could select Obtaining as the Goal, the Requirement, or even the Signpost (main topic) of Act 1.

So, the Story Engine says, “Here are all the key story points. Choose the thematic subject matter each will explore,” whereas the Theme Browser says, “Here is all the thematic subject matter. Choose the story point which will explore each topic.”

Finally, Dramatica offers the Query System as a third way of constructing a storyform. The Query System was designed to provide extensive help to the author while making choices about story structure.

The Query System is actually divided into two areas: the Query System proper, available through its own button on the Main Desktop, and the StoryGuide, also available through a button on the desktop.

The Query System is just a collection of different question paths that focus on different areas of a story, such as the Main Character, or the plot. Each question provides either a fill-in area for such things as the story’s title or the Main Character’s name, but more importantly provides questions that are much the same as choosing an item in the Story Engine or the Theme Browser. To re-iterate, the choices made in the Query System simply go to the same background story engine at the heart of the software.

The Query System allows an author to concentrate on one facet of his or her story and work there, then skip to another and continue. For example, the Main Character might be the most important element of a story to a given author. This author could first work in the Main Character Query System path until satisfied, then move on to the second area of interest, which might be the Obstacle Character, Plot, or Theme. There’s even an “All Storyforming Questions” path for authors who want to see everything in a long list and jump from one question to any other while storyforming.

The StoryGuide path is really just another question path in the Query System. The big difference is that the StoryGuide has been specifically designed for first time users.

The StoryGuide comes in two lengths: a 50 question path which usually takes 3 or 4 hours to complete, and a 200 question path, which usually takes 3 or 4 weeks! As with all other areas of the Dramatica software, any work you do in one path automatically shows up in the other as well. So, you can start with one, then change your mind and go to the other, or just jump back and forth among ANY of the question paths whenever the mood strikes you.

The StoryGuide path pulls key questions from all the other Query System paths, then presents them in an order that requires the least possible explanation of the Dramatica theory of story in order to create a storyform.

Because it has been designed to be the quickest, most painless way to a story structure for a new user, the StoryGuide button on the Main Desktop is in the upper left corner for prominence, and is labeled, “Start Here!”

In summary, there is a single story engine at the heart of the Dramatica software that keeps track of the relationships among your characters, plot, and theme. No matter how or where you enter the information and make dramatic choices, it all goes to the same central engine.

Of the three main areas in which one can make dramatic choices, the Story Engine is designed for the experienced structuralist, the Theme Browser is designed for the experienced intuitive writer, and the StoryGuide is designed for new users to ease them into the software and theory with the quickest results.

Dramatica Tid Bit:

Although the Dramatica software program is over 7 meg in size, the story engine at the heart of the software is a series of complex interrelated algorithms taking up only 28K of space! This story engine is so revolutionary it was awarded United States patent number 5,734,916.Just as a Rubik’s cube has just 27 moving pieces, yet creates 40,000,000,000,000,000 combinations, the patented Dramatica story engine has is only 28K in size, yet generates 32,768 completely different dramatic storyforms.

First and foremost, Dramatica is a theory of story. The software serves to implement aspects of the theory in a handy and practical manner. Personally, I feel that a writer using Dramatica solely to create a blueprint for a story is missing a big part of the power of the theory.

As one becomes more and more familiar with aspects of the theory, these new concepts begin to take hold in a writer’s mind at a subconscious level – right where his or her creativity springs forth. In a sense, the theory explanations become subliminal patterns of thought in the author’s mind that fine tune his or her writer’s instincts, help him or her avoid holes in the story’s logic and feeling, and offer a way around writer’s blocks.

The Dramatica software can be thought of as “training wheels” in the craft of writing. When one is up to speed, the wheels can come off. Unlike riding a bike, however, one DOES forget how, in the craft of writing. This occurs because every day we assume new and different givens, become accustomed and conditioned to new ideas and environments, and as a result we lose touch with how others might view our work. If our intent is to communicate and to move our audience to feel specifically what we have in mind for their hearts, we must hone our skills in getting the message across. That’s where the Dramatica software comes in.

Both Dramatica Writer’s DreamKit and Dramatica Pro come with a special question path called the StoryGuide. This path is designed to get new users up to speed with the theory while creating a complete scene order or chapter order treatment for a story along the way. Buy using the StoryGuide, the new user can put the theory to work immediately and get to know the software at the same time. Once this path has been taken the first time, most writers will want to chart their own path through Dramatica, tailoring their use of the software tool to match their personal writing styles.

The way I use the software myself is as a periodic tune-up. I like to write the first draft of a work without using the software. Then, I go into the software and fill in all the storytelling information first. Next, I go to the Storyforming section, click the “storytelling” button and make my Storyforming choices based on what I read on the screen of my own storytelling.

I don’t go through the lists in order, but rather start with the dramatic items of most importance to me in this particular story. That way, when I finally get down to storytelling I’ve done that doesn’t fit ANY of the available Storyforming choices, it is usually not a pet concept, and I can alter my storytelling approach to fit the overall argument of my story.

Finally, when I have arrived at a complete Storyform and brought my storytelling into line, I add any additional storytelling for Storyforming items I had not addressed in my first draft. I then print out the “kitchen sink” report for a record of my ENTIRE Storyform, and use that as a reference while I write.

During the original writing process and the re-writing process then, I don’t actually use Dramatica at all. I prefer to follow my instincts, once they know where they are going. For the first draft, I don’t want to be hindered by analysis, no matter how accurate the feedback may be. Then, between drafts, I want to hear what Dramatica has to say. And finally, during the re-write, I again want to go with my now-refined instincts, and only refer to the “kitchen sink” report when I am at a loss. In this manner, I retain the immediacy and serendipity of my work, and still take advantage of the unique insights provided by Dramatica, which keeps my work honest for the audience.

The StoryGuide system was designed to familiarize novice writers with many useful concepts in the Dramatica theory that should have an immediate positive impact on their skills. It is my hope that once a writer’s creative feet are wet, he or she will wade out a little farther toward the deep water, leave the floats behind and take the plunge into his or her own inspirations. When one feels the currents pulling one out to sea, however, that is when Dramatica can throw out a life preserver and help you find your way back to shore.

Well, I wax poetic. Sorry! Just my Muse pulling me around by the nose.

  A Writer Asks…

I’m finishing up a review of Dramatica Pro and had a quick question I was hoping you could answer for me:

My Reply…

First, keep in mind that writing is a craft in which one is always learning. Every time you pick up a new trick, tip, or technique, your writing improves, even if you haven’t fully grasped the larger understanding. So, the real objective is not to “master” the craft of writing, but to keep your writing skills growing by continually learning new approaches.

Second, keep in mind that Dramatica is both a new theory of story and a line of software products which implement the theory. As a result, new Dramatica users have two different things to learn at the same time.

In terms of the theory, unless you are more interested in being a theorist than a writer, don’t bother trying to understand the whole shebang. The Dramatica theory is HUGE, COMPLEX, and utterly OVERWHELMING. But… it is made up of thousands of simple pieces, each of which provides a truly useful trick, tip, or technique.

For example, just one little part of the theory says that a traditional “hero” is really made up of two parts: the character driving the story AND the character with whom the audience identifies. When you realize that these two functions can be put into two separate characters it opens up a whole new realm of creative possibilities.

You no longer have to make the Protagonist your Main Character, but might choose to tell your story through the eyes of someone to the side of the main action. A good example of this is “To Kill a Mockingbird” in which the Protagonist (Atticus -the Gregory Peck part in the movie) is driving the story forward, yet the audience most closely identifies with his young daughter, Scout. It is really Scout’s story.

Every little part of the Dramatica theory you learn adds to your creative options. So, when approaching the Dramatica theory, look at is as a wealth of useful concepts for writing which one can mine for years without exhausting the supply of new insights, techniques, and ideas. And unless you would rather be a theorist than a writer, don’t worry about trying to master the whole durn thing.

When considering the software, however, a completely different situation arises. Rather than simply picking up interesting concepts, the intent here is to use the software as a tool to fashion the underlying dramatic structure for your story.

The Dramatica software is built around a “Story Engine” which is a “model” of dramatic relationships. In order to use the Story Engine as a tool, one must learn how to run it.

As with any skilful endeavor, it takes time to master. Think of the first time you rode a bike, drove a care, learned to type: each of these skills took time to develop. Why commit the self-discipline necessary to master these skills? Because of the the belief that once the work is done, one will be able to do things that were simply not possible before.

Imagine if you could be sure that your dramatic structure was sound before you ever wrote a word. Or, imagine if you could write a first draft based on inspiration, then use a Story Engine to “check” your dramatic relationships, tell you what isn’t working, what’s missing, and what needs to be done to make it right. That’s what the Dramatic software promises.

But why should you believe? After all, that is a bold claim. The reason to believe brings us back to the Dramatica theory. Read the book. (It is available FREE on the world wide web through The Official Dramatica Theory Web Site at Storymind.com and also comes free with Dramatica Pro.) Try out some of the concepts you can use right away. And, if you find some useful new tools, perhaps you may determine it is worth your while to invest some time in developing the skills necessary to run Dramatica’s Story Engine. It is my belief that authors willing to apply that effort will find that the Dramatica software can take them to whole new creative levels.

There are structuralist writers and intuitive writers. The Dramatica software can be used by both, but in a completely different way.

The software almost insists that you storyform first, then encode. This is fine for a structuralist who wants to draft the blueprints before raising the building. But, it works against the intuitive writer who wants to mold a lump of clay into a meaningful form.

If you are an intuitive writer, encode FIRST and then storyform.

Here’s how to do it:

Open Dramatica with a new file and go directly to the Story Points Window (available through the main Dramatica Desktop) The Story Points Window provides a tabular list of all the story points Dramatica “tracks.”

Even without storyforming, these story points provide a rather complete shopping list of the key dramatic elements of any fully developed story.

Scroll down the list and you’ll notice the story points are grouped into categories like “Main Character,” or “Central Plot Points,” for example.

As an intuitive writer, select the category that is most meaningful to you. Scan through the list of story points in that category and pick the one that is most important or meaningful to you. It might be the Main Character’s Critical Flaw or the Story Goal, for example. (Don’t use the Plot Type Order areas though. In another post, I’ll describe how writers who want to develop the plot progression might first approach the software).

By double clicking on the empty column on the far right of the window, you will bring up a screen where you can describe each story point. So, if we double clicked on Story Goal, we see a question at the top asking us to “Illustrate how the central “objective” of the Objective Story (Goal) concerns an unchosen item {an unchosen item}. You can pretty much ignore that or any of the other questions at the top of a story point description window.

Instead, just describe how you see your story’s Goal. “My story is about a guy who wants to be President.”

Go through the entire list of story points, filling in any of them with the subject matter you want to explore in your story. If you don’t know what to put in for a particular story point, leave it blank for now. When you have gone through all story points once, go back and re-consider the blank ones. You may be surprised to find that by virtue of the process of answering the story points you could, you may have already generated ideas you can now enter in the ones you left blank before. Just going through the list helps you marshal your thoughts!

When you have filled in every story point that brought something to mind, read over the whole list. See what you have had to say about your story. See if it feels like what you had in mind, or perhaps even brings the overall big picture into greater clarity than ever. In fact, you may even find that by taking the wider, all-encompassing view, you are now ready to fill in a few more story point descriptions!

When you are finally finished, even if some story points are left blank, you could probably sit down and start writing a fairly complete story. Still, there would be some holes, and it is also likely there would be some story points that really didn’t seem to work with some of the others. That is why it is NOW time to storyform!

What we want to do is to “find” the structure that most closely describes what we have written, then clarify or fine-tune our encoding to become more structurally sound. To do this, open up the Dramatica Query System (also available from the main Dramatica desktop).

At the top left of the Query System Window is a little pop-up menu that shows the word “Home.” When you click on the menu, a list of different question paths appears. Go down a little more than halfway into the list and select an item called “Storyforming—Complete.” This will bring up a list of all the storyforming questions the software has to offer.

Skim over the list to see what questions it has to offer. Then, zero in on the one question that overall it the single most important story point to you, passionately. You see, Dramatica has no preference among story points – any one is just as important as any other. But as an intuitive writer, there are going to be certain aspects of your story’s structure that are vastly more interesting or crucial to your message.

So, pick the most important story point to you, then open its question window by selecting it from the list. Now you’ll notice there is a row of “HelpView” buttons running from left to right across the middle of each question screen. One near the middle is labeled “Storytelling.” If you click that button, then the encoding you already did for that story point in the Story Points Window will show up in the bottom half of the question window.

If we opened Story Goal as the most important story point then, as described in our earlier example, our words, “My story is about a guy who wants to be President.” will show up. To find the structure closest to that story point, we look at the list of available structural choices.

If Story Goal was the first story point we decided to structure, then we would have 16 different descriptive words from which to choose. Among these would be the words, “Obtaining” and “Being.” By referring to the storytelling (encoding) we already wrote, we may decide that our story is about a guy who wants to Obtain the office of president, or alternatively it might be about a guy who wants to Be presidential.

Do you remember the story “Dave” about a man asked to impersonate an ailing president? In that case, the Goal is not Obtaining, but Being. By thinking about the implications of each choice, we are forced to refine what we had in mind, to find the structure closest to our nebulous intent.

We continue to answer questions in the Storyforming Complete list in the order of next greatest importance. Eventually (due to Dramatica’s Story Engine) we may encounter a question for which all the available word choices don’t seem to fit. This is an indication that our storytelling has structural inconsistencies. In other words, structurally, some of what we wanted to talk about in our story doesn’t fit in dramatically with other areas.

If you want to strengthen your structure, then you simply choose the word that is most acceptable and then adjust your storytelling on that point to match that choice. Because you started with the story points that were most important to you, by the time you reach a question with choices that don’t match, it will probably be so far down your list of importance that you don’t mind adjusting the storytelling.

But, if you are really in love with that particular storytelling item, you can simply ignore the structure and go with what excites you as an intuitive writer. An audience is not looking for a perfect structure – they are looking for a fulfilling story experience. Therefore, they are likely to overlook a few inconsistencies if the storytelling is moving. A truly poor structure, however, can distract the audience from that experience.

Some story points are more impactful to the overall meaning of the story. And, some storytelling that is not consistent may still be close, or may be really off the mark. The key is to recognize the relative value of accuracy vs. passion when the two diverge. And that is a judgment call every author must make for himself or herself.

Either way, you will eventually reach a complete storyform structure which will then “predict” the kind of subject matter which ought to occur in every story point including the story points for which had not done any storytelling. You can then use this structural guideline to fill in the missing storytelling. You can do this by returning to the Story Points Window and reviewing what you had previously written, the structural items which the storyform has now associated with that storytelling, and the structural items suggested for the story points you haven’t yet storytold. With all this information on which to draw, it should help you find the inspiration you need to fill in those remaining story points.

Finally, as an intuitive writer you won’t likely want to use the storyform, or even your own story encoding as a guideline for writing. Rather, you’ll probably want to use that information to understand your story, then put it aside and write from the heart, now that you have that sound background.

When you have completed a draft, it will likely have drifted again from a sound structure. You won’t have noticed it while writing, but as your point of view and interests shifted during the writing process you may have gotten a bit off course.

To bring things back into structural focus, return to the software and go through the process again, but this time with a brand new file from scratch. Instead of describing what you intend to do, this time you need to analyze what you have already done.

Fill in the storytelling you actually did, then answer the storyforming questions based on what you actually wrote. Again, you may find inconsistencies in which case you are faced with the same choice: adjust the storytelling or keep it with the awareness it isn’t structurally on the mark.

Repeat this process as many times as necessary to hone your story into just the structurally sound, passionately strong work you wanted it to be.

Many people get discouraged when they first try to create a story structure in Dramatica. This is because the software directs you to work out your structure first, THEN develop it into a real story. But there is a MUCH easier way….

Located on the Main Dramatica Desktop is a button labeled, “Query System.” When you press it, you’ll be taken to a screen that presents several different buttons, each of which is labeled as a different aspect of the story creation process, such as Character Storyforming or Plot Storyweaving. When you push one, you are taken to a list of story questions pertinent to the aspect you selected. IGNORE THE BUTTONS!!!

Instead, go to the top left portion of the screen and use the pull-down menu to see a list of many other question lists. One of them, near the bottom, is called All Storytelling. Select this choice from the menu. (Don’t select the All StoryFORMING item by mistake!)

The All Storytelling choice brings up a list of every storytelling question available in the Dramatica software.

Now, why did you do this? Well, if you approach Dramatica from any of the normal, easily accessible areas, you are presented with STRUCTURAL questions that you MUST answer before doing any storytelling at all. The StoryFORMING structural questions are multiple choice, and ask you such things as: “Which of the following items best describes your story’s Goal: Obtaining, Becoming, Understanding…”

Answering a question like that before you even know what your story is about is next to impossible! But by going to the All StoryTELLING list first instead, you will be presented with questions such as, “Describe your story’s Goal.” You don’t have any choices to make, just a space to fill in whatever thoughts you may have about your Goal. So, you might enter for example, “My Story’s Goal is that Joe wants to be president.”

Jump around in the All Storytelling list by clicking on any question you feel like answering, in any order you like. Even without Dramatica’s Story Engine feeding you choices, you’ll find the list of questions so complete and cogent that your story almost develops itself. Well, not really, but it sure makes you think and fill in gaps.

NOW… Once you have answered all the questions you care to, THEN you go to the All StoryFORMING list by selecting it from the pull-down menu. Select a question you have already answered in storyTELLING and click on the Storytelling HelpView button (in the middle of the screen between the top box and the bottom box) and the storytelling you did will show up in the bottom box!

You can now refer to your original concepts when making the structural choice in storyFORMING. In our example, suppose you go to the Goal Storyforming question. When you click on the Storytelling HelpView button, your words, “My Story’s Goal is that Joe wants to be president,” appear in the bottom box so you can refer to them while you are making your choice (Obtaining, Becoming, Understanding) in the top area.

In our example, you would look over the list of choices and ask yourself such questions as, “Does Joe want to OBTAIN the office of the presidency or BECOME presidential?” By having your own words in front of you, the storyFORMING choices now help you focus your intent, rather than making you work with logistic choices far removed from the creative process.

If you choose Obtaining, the story will be about trying to rise through the party, win the nomination, and then the election. If you choose Becoming, the story will be about trying to grow to become presidential (as in the movie “Dave”).

For help in making your choices, use the HelpView buttons. To do this, first select an item you think best sums up what you have written. Then, click on the Definition, Context, and Stories HelpView buttons to see if that choice matches. If it is perfect, go on to the next question. If not, try other choices until you find the one that best fits the description you wrote.

It is important to begin your Storyforming with the questions that are most important to you. This is because Dramatica’s Story Engine will be working in the background, limiting future choices to be compatible with what you have already chosen. So, by starting with the story points you are most “married” to, you will get all of the key elements into your story that you wanted before you run into dramatic inconsistencies.

What’s a dramatic inconsistency? Well, authors usually come to a story with lots of little pieces that deal with the same subject matter. But just because they all have to do with the same topic doesn’t mean they all fit in the same story! The process of structuring a story is working out which pieces fit together and which need to be discarded.

As you work down the list of questions you filled in for Storytelling, you may eventually find that none of the Storyforming choices remaining come close to describing your words. In that case, you have two options:

Change your words.

If the Storytelling you did is not really important to you, then you’ll want to return to the Storytelling question list and revise your words to match one of the available dramatic choices. But if your Storytelling IS important, then you may decide to ignore the dramatic inconsistency and leave it in anyway.

Why would you want to create a story with flawed dramatics? Stories are half Structure (meaning) and half Storytelling (audience experience). Sometimes a poor song well played sounds better than a great song poorly played. Only you can determine if the inconsistency is so dramatically wrenching as to derail the audience, or if the Storytelling is so compelling that its power far outweighs a minor dramatic flaw.

Finally, even when you have answered the Storyforming choices for all the Storytelling questions you described, you may still not have arrived at a single Storyform. At this point, you also have two options:

Go back to the Storytelling questions and describe more of them, inspired by what you have now developed for your story

Stay in the Storyforming questions and answer them directly without doing any Storytelling for them first.

In the first case, you should go to the next most important question and work down you list of priorities. Then, go back to Storyforming and proceed as before. Do this as many times as you need in order to finally arrive at a single Storyform structure.

In the second case, go to the most important unanswered Storyforming question remaining and make your choice. Work down your list of Storyforming questions until you arrive at a single Storyform.

(Keep in mind that you can make multiple selections on some items and let Dramatica’s Story Engine narrow those choices, perhaps even pick a single item, based on your continuing input with other questions.)

Eventually, you will have arrived at a single Storyform. At this point, there will be many Story Points determined by Dramatica’s Story Engine which do not yet have any Storytelling. Now it is time to return to the Storytelling areas of the software and fill them in, based on what you have already written.

(It should be noted that you can also fill in your Storytelling choices in the Story Points window as well as in the All Storytelling question list.)

In summary, rather than first approaching a sterile process of story structuring that leaves you cold, uninspired, and frustrated, you can go first to storytelling and express all of your interests and passions, letting them form the basis for your story structuring later. This works even better if you have already jotted down some notes or written a treatment or even a first draft.

 This is in response to a Dramatica user who wondered whether he needed to assign all 64 character elements in the “Build Characters” area in Dramatica Pro software to his characters or if the story might not suffer if he only assigned some of the elements.

A good rule of thumb is to at the least assign all of the elements in the set that contains the Objective Story’s Problem Element.

In other words… The sixty-four elements are broken up into four sets. The sets represent character Motivations, Methodologies, Purposes, and means of Evaluation. One of these sets will contain the Problem Element for you Objective Story. Since these are Objective Characters, they should certainly be developed around that particular set so that the Problem at the heart of your story if fully explored.

This means that in some stories, the characters are primarily identified/explored in terms of their motivations, while in others they are noted by their methods. For example, Sherlock Holmes (and the characters who appear with him) are almost always seen in terms of their methods. Sherlock himself is principally identified by the methodology of “Deduction”, right off the Dramatica element chart.

A “Fall-back” position that is a lot simpler is based on the notion that in Western culture, we normally tend to be more concerned with character motivations than anything else. Other cultures favor other sets. So, even if the problem element is not in the motivation set, if you develop the motivation set and just the problem, solution, focus and direction from the other set, the audience will generally buy it and feel quite comfortable doing so.

Also, for writers raised in Western culture, it is probably a lot more comfortable to work with the motivation set than any other.

So, if you illustrate the Objective Problem quad (problem, solution, focus, direction) and then either the rest of that set, or if it is not the motivation set, just the quad and the motivation set, then you have done the minimum for an average length novel or screenplay.

The next most important items would be to fill in the rest of the problem quad set if it is not the motivation set.

Beyond that it is not really necessary to explore the rest of the elements unless you have something artistically to say about them. Your argument to your audience will have been sufficiently made without them, and the audience will “give you” the rest.

You can use the remaining elements to good effect, however, by assigning one or two to incidental characters who may enter your story purely for plot convenience or entertainment purposes. It gives them more of a reason to be and also strengthens your overall argument. Also, assigning some of the remaining elements to those characters you wish to feature can make them more well rounded and help draw audience attention to them.