Category Archives: Dramatica

Dramatica Definition: Obligation

Obligation • [Variation] • dyn.pr. Rationalization<–>Obligation • accepting a task or situation in exchange for someone’s earlier or potential favors • Obligation is a mental trick we play when we accept a poor situation now in the hopes it will lead to a better one later. If we do not feel Obligated, we know we are really in control of the situation since we can leave at any time. However, we would then lose any chance of a reward at the end and even risk consequences that might befall us as a result of leaving. But by focusing on the hope of a reward and protection from consequences, our current suffering can be tolerated and we feel we have no choice but to stick it out. The problem is that as long as we continue to feel we have no choice, the suffering can increase way beyond any realistic hope of recouping and yet we “must” stay. • syn. agreement, pledge, contract, accepted compulsion, emotional contract

From the Dramatica Dictionary

Summary – The Grand Argument Story

We have described a story as a battle. The overview that takes in the full scope of the battle is the Objective Story Throughline.

Within the fray is one special soldier through whom we experience the battle first-hand. How he fares is the Main Character Throughline.

The Main Character is confronted by another soldier, blocking the path. Is he friend or foe? Either way, he is an obstacle, and the exploration of his impact on the Main Character is the Obstacle Character Throughline.

The Main and Obstacle Characters engage in a skirmish. Main says, “Get out of my way!”, and Obstacle says, “Change course!” In the end, the steadfast resolution of one will force the other to change. The growth of this interchange constitutes the Subjective Story Throughline.

Taken together, the four throughlines comprise the author’s argument to the audience. They answer the questions: What does it feel like to have this kind of problem? What’s the other side of the issue? Which perspective is the most appropriate for dealing with that problem? What do things look like in the “big picture?”

Only through the development of these four simultaneous throughlines can the Story Mind truly reflect our own minds, pitting reason against emotion and immediate advantage against experience in the hope of resolving a problem in the most beneficial manner.

From the Dramatica Theory Book

Objective vs. Subjective Perspectives

Objective versus Subjective Perspectives • In Dramatica, we can examine a story from the outside as a dispassionate observer, noting the relationship of Character to Plot to theme. We can also examine a story from the inside, by stepping into the shoes of the Main Character to discover how things look to himself. In the first case, we see the story like a general watching a battle from atop a hill. We are concerned with the outcome, but not actually involved. This is the Objective perspective. In the second case, we see the story from the point of view of a Main Character. This is more like the view of a soldier in the trenches. We are watching the same battle, but this time we are personally involved. This is the Subjective perspective. An audience is provided access to both Objective and Subjective views by the author. When the audience is only shown information that the Main Character also receives, it is in the Subjective perspective. When the audience receives additional information that the Main Character does not receive, it is in the Objective perspective. The dramatic potentials of a story are largely created by the differential between the Objective and Subjective perspectives. At appropriate times, Dramatica aids the author in focusing his attention on the perspective that will most effectively support his dramatic intentions.

From the Dramatica Dictionary

The Four Throughlines of “To Kill A Mockingbird”

Objective Story Throughline: The Objective view of To Kill A Mockingbird sees the town of Maycomb with its horns locked in various attitudes over the rape trial of Tom Robinson. Due-process has taken over, however many people think this case should never see trial. As the trial comes to fruition, the people of the town argue back and forth about how the defense lawyer ought to behave and what role people should take in response to this alleged atrocity.

Main Character Throughline: The Main Character of To Kill A Mockingbird is Scout and her throughline describes her personal experiences in this story. Scout is a young tom-boy who wants things in her life to remain as simple as they’ve always been. Going to school, however, and seeing the town’s reaction to her father’s work introduces her to a new world of emotional complexity. She learns that there is much more to people than what you can see.

Obstacle Character Throughline: The Obstacle Character point of view in To Kill A Mockingbird is presented through Boo Radley, the reclusive and much talked about boy living next door to Scout. The mystique surrounding this boy, fueled by the town’s ignorance and fear, make everyone wonder what he is really like and if he’s really as crazy as they say.

Subjective Story Throughline: The Subjective Story view of To Kill A Mockingbird sees the relationship between Scout and Boo Radley. This throughline explores what it’s like for these two characters to live next door to each other and never get to know one another. It seems any friendship they might have is doomed from the start because Boo will always be locked away in his father’s house. The real problem, however, turns out to be one of Scout’s prejudice against Boo’s mysterious life. Boo has been constantly active in Scout’s life, protecting her from the background. When Scout finally realizes this she becomes a changed person who no longer judges people without first trying to stand in their shoes.

From the Dramatica Theory Book

Dramatica Definition: Objective Story Type Order

Objective Story Type Order • [Plot Structure] • the progressive sequence of activites and/or concerns engaged in to arrive at a solution to the story’s objective problem, act by act • As the Objective Story progresses act by act, it covers the Objective Story Perspective (the Perspective created by matching the Objective Story Domain with one of the four Classes) Type by Type around the quad of Types which it contains. These four explorations make up the four acts and describe the kinds of things that will have to happen in order to arrive face to face with the Objective Story Problem.

From the Dramatica Dictionary

The Four Throughlines of Star Wars

Objective Story Throughline: The Objective view of Star Wars sees a civil war in the galaxy between the Rebels and the evil Empire. The Empire has built a Death Star which will destroy the Rebels if it isn’t destroyed first. To even hope for a successful attack, the Rebels need the plans to the Death Star which are in the possession of a farm boy and an old Jedi master. These two encounter many other characters while delivering the plans, ultimately leading to a climactic space-battle on the surface of the Death Star.

Main Character Throughline: The Main Character of Star Wars is Luke Skywalker. This throughline follows his personal growth over the course of this story. Luke is a farm boy who dreams of being a star pilot, but he can’t allow himself to leave his foster parents to pursue his dreams. He learns that he is the son of a great Jedi Knight. When his foster parents are killed, he begins studying the religion of the Jedi: the Force. Surviving many dangerous situations, Luke learns to trust himself more and more. Ultimately he makes a leap of faith to trust his feelings over his computer technology while flying into battle as the Rebel’s last hope of destroying the Death Star. It turns out well, and Luke is changed by the experience.

Obstacle Character Throughline: The Obstacle Character of Star Wars is Obi Wan Kenobi and this throughline describes his impact (especially on Luke Skywalker) over the course of the story. Obi Wan is a wizened old Jedi who sees everything as being under the mystic control of the Force. He amazes people with his resiliency and ability, all of which he credits to the Force.

Subjective Story Throughline: The Subjective Story throughline of Star Wars describes the relationship between Luke and Obi Wan. Obi Wan needs Luke to help him and he knows Luke has incredible potential as a Jedi. Luke, however, needs to be guided carefully because his desires are so strong and his abilities so new. Obi Wan sets about the manipulations which will help Luke see the true nature of the Force and learn to trust himself.

From the Dramatica Theory Book

Dramatica Definition: Objective Story Solution

Objective Story Solution • [Element] • The quality necessary to resolve the Objective Story’s Problem • If the Objective Story Problem is seen as a disease, the Solution would be the cure. The Solution cannot be directly applied, however, because many obstacles stand in the way. Overcoming the obstacles is the Goal of the story, so that the nature of the Goal reflects the nature of the obstacles. The Requirements of the Goal describe the necessary accomplishments which will overcome the obstacles and thereby allow the Goal to be achieved. There is, however, one hitch. The final Requirement cannot be met unless the Main Character is properly positioned to enable it. Sometime this requires the Main Character to stay where it is (Steadfast) and other times to adopt a new position (Change). The internal conflict within the Main Character will either lead it to a new point of view or entrench it in a new one. Depending on that dynamic, the Main Character will either adopt a new position in the story or stay at the old one, resulting in the eventual Success or Failure of the effort to achieve the Goal. Authors will use the Solution to stress that the story’s Problem can indeed be Resolved if everything falls into place, thereby making it worth the audience’s time to see if it ultimately does. When the potential Solution is not illustrated up front, the characters’ efforts in response to the Problem seem to be futile exercises rather than a message illustrating the most worthwhile approaches.

From the Dramatica Dictionary

The Obstacle Character Throughline

To see another the four perspectives necessary in every complete story, first put yourself in the shoes of the Main Character. You are right in the middle of the story’s battle. Smoke from dramatic explosions obscures the field. You are not absolutely sure which way leads to safety. Still, before there was so much turmoil, the way was clear and you are confident in your sense of direction.

Then, from out of the smoke a shadowy figure appears, solidly blocking your way. The shadowy figure is your Obstacle Character. You can’t see well enough to tell if he is friend or foe. He might be a compatriot trying to keep you from stepping into a mine field. Or, he might be the enemy luring you into a trap. What to do! Do you keep on your path and run over this person or try the other path instead? This is the dilemma that faces a Main Character.

To completely explore the issue at the heart of a story, an Obstacle Character must present an alternative approach to the Main Character. The Obstacle Character Throughline describes the advocate of this alternative path and the manner in which he impacts Main Character.

From the Dramatica Theory Book