Speculation • [Element] • dyn.pr. Projection<–>Speculation • an extension of possibilities into the future • Speculation is the effort to determine what could conceivably happen in the future even though it is not the most likely scenario. Speculation leads a character to expect the unlikely in the event that it actually occurs. Difficulties arise when Speculation runs rampant and a character puts effort into preparing for things that are so unlikely as to be unreasonably improbable. • syn. prognostication, surmising possibilities, conjecturing

From the Dramatica Dictionary

Solution • [Element] • the specific element needed to resolve the story’s problem • The Solution Element is the “flip side” of the Problem Element. In a Change story, for instance, the focus may be on the Problem Element (“The Main Character should not be this way”) or the focus may be on the Solution Element (“The Main Character should be this way”). So in a sense the Problem Element is not by itself the cause of the story’s problem, but works in conjunction with the Solution Element to create an imbalance between two traits that need to be balanced. The choice to present one as a negative trait defines it as the Problem Element and its positive partner becomes the Solution Element. In Steadfast stories, the Solution Element represents the nature of the things that would resolve the Objective Story Problem. Again it is the “flip side” of the problem, but it has exclusively to do with the Objective Story since the Main Character does not, in these cases, share the same problem as the Objective Story.

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Skill • [Variation] • dyn.pr. Experience<–>Skill • inexperienced ability • Skill is the innate potential to accomplish either that which is physical or mental. It does not require the practical experience necessary to tap that potential, just that the latent capacity exists. Skill might be seen as raw physical ability, talent, or intellectual or emotional aptitude which may or may not ever be developed. • syn. proficiency, aptitude, competence, adeptness, degree of expertise, practiced ability, honed ability

From the Dramatica Dictionary

Skeptic • [Archetype] • An Archetypal Character possessing the qualities of disbelief and oppose • If a Sidekick is a cheer leader, a Skeptic is a heckler. The Skeptic still wants to see its team win, but doesn’t think it can and is sure this is because the team members are going about it all wrong. Therefore, the Skeptic exhibits disbelief and opposes all efforts. Of course, when the team really is misguided, the Skeptic is in fact right on track. As with all Objective Archetypes, the Skeptic applies it’s outlook to hero and villain alike. In other words, the qualities of disbelief and oppose describe the nature of the Skeptic – not just it’s opinion about a particular issue. So, the Skeptic also doubts the bad guys are as powerful (or bad) as they are said to be, and opposes them as well. One purpose of stories is to illustrate how well different personality types fare in the effort to solve a particular kind of problem. Archetypal Characters represent the most broad categories into which personality types might be categorized. The Skeptic provides the opportunity to explore how well a doubter and naysayer does in resolving the story’s troubles.

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Situation • [Variation] • dyn.pr. Circumstances<–>Situation • a logistic assessment of one’s environment • Situation describes the ins, outs, and practical considerations of the environment in which a character finds himself. Throughout a story, the situation may evolve or may remain constant, depending upon the essence of the message and the nature of the plot. Since it is limited to the practical, Situation can only be measured and/or interpreted though Reason. • syn. how things stand rationally, a reasoned evaluation of environment, arranged context, environmental state, surroundings, predicament

From the Dramatica Dictionary

Sidekick • [Archetype] • An Archetypal Character who represents the qualities of Faith and Support • The Sidekick is the absolutely faithful and supportive member of the Archetypal character set. Although frequently attached to the Protagonist, the Sidekick is identified by what his qualities are, not by who he is working for. In fact, the Sidekick might be attached to the Antagonist or not attached at all. His function is to represent the qualities of faith and support, not specifically to be in service of any other character. However, if the Sidekick is bound to the Protagonist, he can be effectively used to mirror the Author’s feelings about the conduct of the Protagonist. Moving scenes can be created by a misguided Protagonist actually alienating the faithful, supportive Sidekick. Although the Sidekick would never turn against the Protagonist, he can turn away from him, leaving rather that being a party to something he finds immoral or disappointing.

From the Dramatica Dictionary

Senses • [Variation] • dyn.pr. Interpretation<–>Senses • sensory observations • Senses refers to the raw data supplied to the mind to interpret. Sometimes the data is accurate, other times it is faulty even before the mind gets hold of it. Senses describes the overall accuracy of an observation (such as seeing a crime or checking the results of a test). When taken in conjunction with its Dynamic Pair of Interpretation, all manner of error or accuracy can be created. This provides the author with a powerful storytelling tool to create comedies and tragedies based in error and misunderstanding. • syn. perceptual data, raw sensations, sensory impressions, immediate impressions, perceptions

From the Dramatica Dictionary

Sense-Of-Self • [Variation] • dyn.pr. State of Being<–>Sense of Self • one’s perception of oneself • Simply put, Sense of Self is our own Self Image. A character may not truly know who he is but he always knows who he thinks he is. This inward-looking view may be right on the mark or not even close. The difficulty a character has is that from inside himself it is impossible to be sure who he is. All he can do is take clues from the reaction of those around him. Interesting storytelling sometimes places a character among those who provide a warped feedback that creates a false Sense of Self in the character. This erroneous image may be far better, far worse, or simply different than his actual state of being. Other stories force a character to come to grips with the fact that he is wrong about himself, and the opinions of others are accurate. In a Main Character, the differential between Sense of Self and State of Being is part of what separates the Subjective from the Objective story lines. • syn. perception of self, self image, self identity, self attribution

From the Dramatica Dictionary

Self-Interest • [Variation] • dyn.pr. Morality<–>Self-Interest • doing or being based on what is best for oneself • In its pure form, Self-Interest is defined as the quality of ALWAYS choosing what is best for oneself with NO consideration as to the effect on others. This does not require ill intent toward others. A character who is Self-Interested simply focuses on the personal ramifications of decisions. In fact, in stories that show the evil nature of an oppressive society or regime, Self-Interest can be a very positive thing. • syn. self-serving, self-centered, narcissistic, selfishness, self-absorbed, egocentric

From the Dramatica Dictionary

Self-Aware • [Element] • dyn.pr. Aware<–>Self-Aware • being conscious of one’s own existence • When a character possesses Self-Awareness he fully appreciates all his feelings, thoughts, abilities, and knowledge. Everything he experiences or observes is couched in terms of his own point of view. As the downside, he may not be able to understand that some things that happen don’t pertain to him at all and in fact happen best without him. • syn. self-conscious, conscious of one’s existence, self-perceiving, self-appreciating, self-cognizant

From the Dramatica Dictionary