Category Archives: Dramatica Theory

Dramatica Definition: Psychology

Psychology • [Class] • dyn.pr. Physics<–>Psychology • a manner of thinking or demeanor • The Psychology Class is where the evolution or change in an attitude is explored, unlike the Mind Class which describes the nature of a fixed state of mind. This is a more deliberation-oriented class where the focus is not on the attitude itself, but whether it is changing for better or for worse. • syn. ways of thinking, thinking process, activity of the psyche, manipulation of others

From the Dramatica Dictionary

The Domains in Star Wars

Star Wars

Objective Story Domain: Physics (the Class of Activities) — Star Wars is about a war between the Empire and the Rebellion. There is not any set location where this needs to take place, rather it is an exploration of the feints, attacks, and battles that occur between the two forces.

Main Character Domain: Universe (the Class of Situations)– Luke Skywalker is a whiny farm-boy from a small desert planet. He has a tremendous amount of unrealized talent because his father was a Jedi, but everyone sees him as a kid from the edge of the galaxy.

Obstacle Character Domain: Mind (the Class of Fixed Attitudes) — Obi Wan Kenobi lives in the world of the Force. His attitude about the Force’s power and impact, the existence of the Light and Dark sides of the Force, and the importance of the Force is unshakable.

Subjective Story Domain: Psychology (the Class of Ways of Thinking) — Obi Wan clearly manipulates Luke through psychological means. He attempts to coerce Luke to help him get to Alderaan, which Luke resists; Obi Wan does not reveal the fate of Luke’s aunt and uncle to Luke even though Obi Wan is clearly not surprised when he hears the news; Obi Wan purposely keeps Luke in the dark about his resources while bartering with Han Solo, hushing him up when Luke can barely contain himself; Obi Wan keeps Luke under his thumb by doling out information about the Force, the Empire, the Past, and everything else; and it’s Obi Wan who whispers into Luke’s head at several critical moments… “Run, Luke, run!” and “Trust your feelings, Luke.”

Frm the Dramatica Theory Book

The Concept Behind “Main Character Approach”

By temperament, Main Characters (like each of us) have a preferential method of approaching Problems. Some would rather adapt their environment to themselves through action, others would rather adapt their environment to themselves through strength of character, charisma, and influence.

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.

From the Dramatica Software

Dramatica Definition: Proven

Proven • [Element] • dyn.pr. Unproven<–>Proven • an assessment that something is correct by all relavent standards • Proven refers to an understanding that has been shown to be correct enough times to enough people to hold it as fact. The character representing Proven will judge truth only by what has been sufficiently verified. This makes it wary of unsubstantiated rumors, evidence, or conclusions. In the negative column, determining something is Proven requires drawing an arbitrary line that says, “Enough it enough, it’s true!” The moment one assumes that the understanding is Proven, one ceases to look for exceptions. When a connection is made between two events or people on the basis of a series of “Proven” facts, all it takes is one exception to ruin the argument. • syn. verified, confirmed, corroborated, established, demonstrated, shown

From the Dramatica Dictionary

Identifying a Story’s Problem

When we seek to classify something, we try to narrow its definition, such as when we ask if something is animal, vegetable, or mineral. When classifying problems that might be of concern to the Story Mind, the first thing we might want to know is if the problem is an external issue (such as an intolerable situation) or an internal one (such as a bad attitude). External problems occur in the Universe (or environment), Internal problems occur in the Mind.

Further, some problems don’t have to do with states of things (an external situation or an internal attitude) but are processes that have gone awry. An external process falls in the category of Physics, which simply means physical activity of some kind. An internal process which results in a problem has to do with Psychology, which simply means a manner of thinking. Note that a manner of thinking (Psychology) is different than a fixed attitude (Mind). Psychology describes problems like spending too much time with details, whereas Mind problems would be more like a prejudice.

Having identified four categories by which we might classify the nature of the Story Mind’s problem, we can arrange them in a quad pattern, much as we did earlier with the Character Elements.

Since these four categories classify the problem, Dramatica refers to them as CLASSES.

More Resolution

So far, we have been able to roughly determine that a problem might be an external or internal state or process, represented by the four Classes. Already we can get a more refined view of the problem we will be describing in our story. We need only consider which of these four Classes best describes the problem about which we want to write.

For example, if we have an idea for a story about people trapped underwater in a sunken ship, that would be an external problem, best described as a state of things. An external state is the definition of a Universe problem, so this story idea takes place in the Universe Class.

If we wish to write about a harrowing trek through the jungle to a lost city, we are describing a Physics problem: an external activity from which difficulties arise.

A story exploring a father who will not let his daughter marry below her station in life is best described as a Mind problem, for it stems from a fixed attitude.

And finally, an author who wishes to comment thematically on a group of friends manipulating each other would select Psychology as his Class of problem, for the thematic issue at hand is changing one’s manner of thinking. Again, this differs from changing one’s Mind (about something).

It is important to note that ALL FOUR Classes will ultimately play a role in every complete Grand Argument Story. As we shall explore a bit later, each Class will describe the problem as it appears from a different throughline.

From the Dramatica Theory Book

Story Point: Main Character “Approach”

Approach:

the kind of techniques a character uses to solve problems, which favor either mental or physical effort

EXPLANATION

Some of the characters you create as an author will be Do-ers who try to accomplish their purposes through activities (by doing things). Other characters are Be-ers who try to accomplish their purposes by working it out internally (by being a certain way). When it comes to the Main Character, this choice of Do-er or Be-er will have a large impact on how he approaches the Story’s problem. If you want your Main Character to prefer to solve problems externally, choose Do-er. If you want your Main Character to prefer to solve problems through internal work, choose Be-er.

From the Dramatica Software

Dramatica Definition: Protection

Protection • [Element] • dyn.pr. Inaction<–>Protection • an effort to prevent interference with one’s concerns • Protection is the act of building one’s defenses against actual and potential threats. Certainly, preparing for problems brings a character advantages should the problems occur. However, the very act of building defenses can be interpreted as a threat to others who rely on Proaction and thereby precipitate the very aggression the character had tried to protect against. Also, a character representing Protection may stifle another’s need for risk-taking or become so wrapped up in preparations that there are no resources left to use for advancement. • syn. defense, safeguard, preservation, precaution

From the Dramatica Dictionary

Dramatica Definition: Protagonist

Protagonist • [Archetype] • An Archetypal Character who represents the qualities of Pursuit and Consider • An Objective Character charged with the responsibility of pursuing a solution to the story’s objective problem. An objective problem does not mean it can’t be personal. Rather, it means that all of the dramatically functioning characters in the story are concerned about the outcome. The true Archetypal Protagonist pursues the solution against the Antagonist. In other stories a close cousin of the Protagonist shares all the same elements except he tries to avoid the Antagonist’s plan. For the Pursuing Protagonist the goal is to cause something. For the Avoiding “Protagonist” the goal is to prevent something.

From the Dramatica Dictionary

Dramatica Defnition: Progression

Projection • [Element] • dyn.pr. Speculation<–>Projection • an extension of probability into the future • Projection is a means of anticipating events and situations by extending the line of how things have been happening into the future. A character that represents Projection has a good grasp of what he might look for in things to come. However, this character will give great weight to past experience so abrupt changes in direction might be ignored until it is too late. • syn. anticipation, how things will be, most likely, probable

From the Dramatica Dictionary

Dramatica Definition: Progress

Progress • [Type] • dyn.pr. Future<–>Progress • the way things are going • Progress concerns itself with change • what direction and how fast? It is not so important where things were, are, or will be, but rather how the struggle between inertia and change seesaws over the course of the story. • syn. flowing, advancing, proceeding, moving forward, developing step by step, graduated, staging, successive, procession, the way things are going

From the Dramatica Theory Book