Category Archives: Dramatica Theory

The Objective Story Throughline

There are four essential points of view which must be explored for a story to be complete.

The first perspective is the Objective Story Throughline, so called because it is the most dispassionate look at a story.

Imagine the argument of a story as a battle between two armies. The Objective Story view is like that of a general on a hill overlooking the battle. The general focuses on unfolding strategies and, from this perspective, sees soldiers not by name but by their function on the field: foot soldier, grenadier, cavalryman, scout. Though the general may care very much for the soldiers, he must concentrate on the events as they unfold. Because it emphasizes events, the Objective Story Throughline is often thought of as plot, but as we shall see later, plot is so much more.

From the Dramatica Theory Book

Dramatica Definition: Objective Story Inhibitor

Objective Story Inhibitor • [Variation] • The kind of item which serves to impede the Objective Story’s progress • The Objective Story Inhibitor is what prevents a story from just rushing full speed to the solution. It is like a brake mechanism which can be applied as the author pleases. The introduction of this item will always slow the progress of the story and it works as the antidote to the Objective Story Catalyst.

From the Dramatica Dictionary

The Four Throughlines

It is not enough to develop a complete Story Mind. That only creates the argument the audience will be considering. Equally important is how the audience is positioned relative to that argument.

Does an author want the audience to examine a problem dispassionately or to experience what it is like to have that problem? Is it more important to explore a possible solution or to weigh the benefits and drawbacks of alternative solutions? In fact, all of these points of view must be developed for a story to be complete.

An author’s argument must go beyond telling audience members what to look at. I must also show them how to see it. It is the relationship between object and observer that creates perspective, and in stories, perspective creates meaning.

There are four different perspectives which must be explored as a story unfolds in order to present all sides of the issue at the heart of a story. They are the Objective Story Throughline, theMain Character Throughline, theObstacle Character Throughline, and theSubjective Story Throughline.

From the Dramatica Theory Book

Dramatica Definition: Objective Story Focus

Objective Story Focus • [Element] • The principal symptom of the Objective Story’s Problem • If the Objective Story’s Problem is seen as a disease, the Solution would be the cure. The Focus, however, would be the principal symptom. Since the symptoms of a disease are more apparent than the disease itself, the symptom is called the Focus, because the attention of the Objective Characters is focused there. Even if the Objective Characters are aware of the true nature of the Problem itself (which they may or may not be), they will be more riveted to the immediate effects created by the Focus.

From the Dramatica Dictionary

Dramatica Definition: Objective Story Domain

Objective Story Domain • [Domain] • the realm in which the Objective Story takes place; the background against which the overall story is played • Stories are about meaning. Meaning is created from perspective. Perspective is the relationship between what is being examined and the point of view from where it is seen. Simply put, an author determines the subject matter of a story and how he sees it. This is what becomes the message or meaning of the story. There are four principal points of view which must come into play in all complete stories. They are the Objective, Main Character, Obstacle Character, and Subjective views. The Objective view of a story is the widest view, examining the issues that affect all the characters in the story overall. There are four principal categories of subject matter (called Classes). They are Universe, Mind, Physics and Psychology. In more conversational terms we might think of them as (in the same order) Situation, Attitude, Activity, Manner of Thinking. In reality, they represent external and internal states of affairs and external and internal processes. Anything we might consider as subject matter can be broadly categorized as being an external or internal state or process. When a point of view is attached to the subject matter, the Class of subject matter becomes the Domain or realm in which that point of view does its exploring. So, when the Objective view is associated with a Class, that Class becomes the Objective Story Domain. The Objective Story Domain examines the issues that affect all of the characters, story wide. An OS Domain of Universe means that some fixed external situation is causing troubles for the characters, such as being trapped in a cave. An OS Domain of Mind means that fixed attitudes are the problem, such as a town that shares a prejudice. An OS Domain of Physics means that the story’s difficulties arise from an activity, such as a safari into dangerous territory. And OS Domain of Psychology means that the way people think is the overall source of problems, such as a group of people gathered for a reunion who find fault with each other.

From the Dramatica Dictionary

Dramatica’s Basic Concepts

In Dramatica, there are some central concepts that prove immediately useful. Presenting these up front reveals the practical side of the theory and provides a firm foundation for more in-depth explorations to come.

These central concepts are:

1. The Story Mind
2. The Four Throughlines
3. The Objective Story Throughline
4. The Main Character Throughline
5. The Obstacle Character Throughline
6. The Subjective Story Throughline
7. The Grand Argument Story

From the Dramatica Theory Book

Dramatica Definition: Objective Story Catalyst

Objective Story Catalyst • [Variation] • The kind of item which serves to push the Objective Story forward • The Objective Story Catalyst is what creates breakthroughs and seems to accelerate the development of the Objective Story. In both the Objective and Subjective Stories there occur dramatic “log-jams” when things seem to be approaching a halt. This is when the Catalyst is necessary, for its introduction will either solve the puzzle that’s holding things up or else make the puzzle seem suddenly unimportant so the story can continue.

Dramatica as a Tool

None of the creative techniques an author might use are better or worse than others. They are simply different approaches to the creative process. The key is to find the ones that work for you. Sometimes what works is not to create a full argument, but to break the rules, shatter expectations, and play with the minds of your audience members. Even here Dramatica can help. Because it defines a complete argument, Dramatica can assist in predicting the effect that breaking an argument will have on the message going to the audience: it can describe how the communication has been altered. When all is said and written, Dramatica provides authors with a tool for understanding the process of communication, if and when they want it.

Story Perspective

All meaning comes from perspective – putting things in context. Perspective is created by the combination of what you are looking at, and where you are looking from. Change the object of your intention and perspective is altered. Shift your point of view and perspective shifts as well.

The Dramatica story structure chart is a map of a story’s perspective that describes how your readers or audience will be positioned in regard to the issues you wish to explore.

The chart is divided into four different sections, each one representing a different kind of topic. The first section deals with stories about fixed situations, such as being stuck in a collapsed mine or struggling with a disability. The second area is for stories about activities like trying to win a race or the effort to discover a lost civilization. The third covers stories about fixed attitudes,
mindsets, fixations or prejudices. And the final part deals with changing attitudes, manners of thinking, and emotional progressions such as slipping into a depression.

Each of these topic categories is called a “class” of topics, and each has a name. The area that covers situations is called the “Universe Class” because it centers on a fixed external state of things. The part dealing with activities is called the “Physics Class” because it is about external processes. The third section of topics is the “Mind Class” because it is about fixed internal states. The final realm is the “Psychology Class” since it focuses on internal processes.

Simply put, there are two external classes and two internal classes. Similarly, two of the classes deal with states and two with processes. As you can see, the Dramatica chart maps virtually every kind of consideration you might want to explore in a story, for there isn’t any story issue that doesn’t fall into a category as either an external or internal state or process.

But, what we wish to talk about in our story – what we are looking at – is only half of whatcreates the perspective that contains meaning. To complete the structure of our story we need to add points of view to the topics under consideration.

Just as there are four classes of topics, there are also four points of view. They are the Objective, Subjective, Main Character, and Obstacle Character. The Objective view explores your story’s topics as would a general on a hill watching a battle in the valley down below. Though he cares about the conflict below him, he is not directly participating and also sees a bird’s eye view of the broad strategies involved. Essentially, the Objective view encompasses the “Big Picture” of the grand schemes in your story – from the outside looking in.

But what about the personal view – what things look like from the inside looking out. For that, we have to imagine that we zoom down from the hill into the shoes of one of the soldiers on the field of battle. We experience what he experiences, we feel what he feels, we see things through his eyes. This is the most personal point of view in a story, and it is that of the Main Character – the character with home the reader/audience most identifies – the one whom the passion of the story seems to be about or to revolve around.

The third point of view is from the inside looking in – much like one soldier encountering another in the midst of all the dramatic explosions. This represents the way we all look within ourselves to consider our options, other outlooks we might adopt, whether or not we should change our point of view. So this is the view of the Main Character looking at the Obstacle Character – representing that alternative paradigm we might change to embrace.

Finally, there is the Subjective view of the argument we make with ourselves about the pros and cons of sticking to our guns or changing our minds. This is represented by the personal skirmish between the Main and Obstacle characters in the midst of the overall battle as seen by the general from the Objective view.

In essence, the four points of view are equivalent to I, You, We and They – the four angles we have on ourselves and our fellow human beings. Main Character is “I” – our sense of self or identity in our own minds. Obstacle Character is “You” – perhaps the future “I” – another way for being we might become. Subjective is “We” – our examination of the relationship of our now
and futures selves – the difference between who we are and who we might become. Objective is “They” – all the other aspects of ourselves that are not under pressure of possibly changing, represented by all the characters in our story other than Main and Obstacle.

Now that we have outlined the four topic categories and the four points of view, what remains is to combine them to create your story’s perspectives. In fact, all four topic categories must be explored in your story for it to feel complete. What sets one story apart from another begins by the author’s decision as to which point of view will be used to explore which topic category.

When the points of view are matched to a corresponding topic realm, four principal perspectives are created for your story. And each perspective is a different angle on the truth at the heart
of your story – a different approach to discovering and solving the problem issue that creates all the difficulties in your story. This match of angle and object is called a “Domain.” So, your story will have four Domains of perspective – the Objective Domain, Subjective Domain, Main Character Domain, and Obstacle Character Domain.

Within each domain we’ll need to dig deeper and to see in greater detail in order to uncover the true heart of your story’s problems. To this end, each domain is divided into smaller and smaller parts – wheels within wheels in the mechanics of your story’s structure. For example, in “A Christmas Carol” by Charles Dickens, Scrooge is a “Mind Domain” character because he is driven by a fixed attitude of selfishness. The ghosts are “Universe Domain” character because they are stuck in a fixed situation – their own ethereal condition that cannot directly effect the world of men.

One magnitude of detail deeper in the Dramatica chart we find that the overall Class of Universe is sub-divided into four smaller aspects: Past, Present, Future, and Progress. And how appropriate (or predictive) that the ghosts of “A Christmas Carol” are Past,
Present, and Future. And what about “Progress”? Why it is the ghost of Marley who argues to Scrooge that he forges his chain link by link, extending it day by day with every selfish act. His message is one of Progress which is why it makes the collective argument of all four ghosts feel complete.

In conclusion, one must establish perspective in order to create meaning and therefore message. The Dramatica chart provides a map of topic categories to which we can apply the four essential points of view and thereby full develop our story perspectives.