Conditioning • [Variation] • dyn.pr. Instinct<–>Conditioning • responses based on experience or training • Conditioning describes learned responses to various stimuli. Similar to Instinct in that the Consciousness in not involved until after the fact, Conditioning differs insofar as it was not inherent in the basic nature of a character but acquired though training or familiarity to impose its triggers on the mind. Since Instincts are intrinsic and Conditioning is learned, they frequently come in conflict over how to respond. This concept alone has provided the theme for many intriguing stories. • syn. habituation, trained response, accustomed response, adaptive adjustments

Concern (Objective Storyline) • [Type] • the goal or purpose sought after by the objective characters • The Objective Story Concern is the area which all the Objective Characters are hoping to have a good grasp of by the end of the story. Their goals and purposes will all share some aspect of the Type item which is their story’s concern. There is also a Subjective Story Concern which is the area of concern between the Main Character and the Obstacle Character. This is also a Type item which describes the nature of what the Main and Obstacle Characters are seeking from each other.

Conceptualizing • [Type] • dyn.pr. Conceiving<–>Conceptualizing • visualizing how an existing idea might be implemented • Conceptualizing means coming up with a practical implementation of an idea. It is not enough to simply have the idea. To conceptualize, one must develop an actual mental model of how such an idea might be made manifest. In other words, one might have an idea to build a spacious house. But to conceptualize the house one must imagine everything that makes up the house — the design, the layout, the colors and textures, everything that is essential to understanding what that specific house is. A character that deals with conceptualizing would be well aware of the kind of solution that will eliminate the problem but spend his time trying to devise a specific way of achieving that solution • syn. visualizing, imagining, envisioning, visualizing implementation

Conceiving • [Type] • dyn.pr. Conceptualizing<–>Conceiving • coming up with an idea • Conceiving is the process of arriving at an idea. If there were no artificial light in the world, one might conceive the need for some form of electric torch. That would be conceiving. But the design of an actual incandescent bulb versus a fluorescent one would require conceptualizing a specific implementation of the idea one has conceived. Conceiving need not come before conceptualizing. For example, a common dramatic technique is to give a character a very clear mental image of an object or arrangement that holds the solution to the story’s problem. But the character does not know the solution lies in the conceptualization. It is only when he finally conceives of the need for a particular kind of solution that he realizes he had the answer all along. Simply put, Conceiving defines the question, Conceptualizing clarifies the answer • syn. originating, inventing, devising, engendering, hatch ideas

Complex Characters • Whenever even a single element is added or removed or swapped in an Archetypal character, that character becomes Complex. The more elements that differ from the Archetypal, the more complex the character becomes. Characters in a story need not all be Archetypal or all be complex. Making some characters more complex than others is a valuable storytelling tool that allows for more exploration of certain areas of the story while underplaying others.

Companion Pair • [Structural Term] • In any given quad, the two top items share a relationship between them in the same way the bottom two share a relationship. What separates the two pairs is what dramatic focus they create. Each pair in each quad will be focused in a slightly different place, creating a gradual shift in the model from one point of view to its opposite. In many quads, the top pair will appear to be more oriented toward the environment in comparison to the bottom pair which is more oriented toward the mind. Either the top or bottom pair can be referred to as a Companion Pair, meaning that the two items that make up the pair are companion rather than in conflict.

Commitment • [Variation] • dyn.pr. Responsibility<–>Commitment • a decision to stick with something regardless of the consequences • A commitment forms the essence of the steadfast character. When a character makes a commitment, it is a decision not to quit regardless of the obstacles that may come. This allows the character to accept much higher costs on the way to a goal than he would if he re-evaluated every time something went wrong. A problem arises, however, when one of those obstacles turns out to be impassable. If a character reaches this point, he cannot achieve the goal. But since he is Committed, he does not re-evaluate and instead continues to beat his head against a brick wall. • syn. dedication, devotion, steadfastness, zeal

Closure • [Variation] • dyn.pr. Denial<–>Closure • bringing something to an end or to completion • Closure can be seen in two ways. One, it can be an ending. In this sense, it prevents what has happened from being changed; it protects a memory or a situation because the window of opportunity for change has ended. In the other sense, Closure can be seen as a continuance. This is because a process made into a closed loop will just go on forever, repeating the same course. In some stories Closure settles all the dramatic potentials to show that the issue of the story has been resolved. In other stories, Closure is used to show that even though the immediate problem has been resolved, the volatile relationships among the characters is never-ending. Closure is useful in letting one know when the job is done. Negatively, Closure tries to bring everything to a conclusion even if it is a continuously growing process that is completely open-ended. The attempt to stop such an evolution would be either fruitless or disastrous. But is a process closed or not? When is a career at an end? • syn. finishing, completion, resolution, recursive

Class • [Structural Term] • The broadest, most genre-like classification of a story’s structural nature • The possible places where problems can exist can be divided into four areas, and we call these areas the four Classes. The Classes are separated by distinctions between inner and outer states and processes. Universe and Physics represent external states and processes respectively, and Mind and Psychology represent internal states and processes respectively. Though Classes have the same names as Domains, they represent only a structural ordering of semantic terms and are not the same as Domains which are more dynamic appreciations created by matching a Class with one of the four throughlines.

Circumstances • [Variation] • dyn.pr. Situation<–>Circumstances • an emotional assessment of one’s environment • Circumstances describes the way a character feels about his environment. Whereas Situation is rated in terms of satisfaction, Circumstances are rated in terms of fulfillment. Emotion, therefore, is the standard of measurement a character uses to evaluate his Circumstances. Often a character must accept unfulfilling Circumstances because he needs the benefits of the Situation. Or a character may accept an unsatisfying Situation because it comes with fulfilling Circumstances. Over the course of a story, the balance between the two measurements can vary greatly. • syn. how things stand emotionally, emotional evaluation of the environment, value of existing conditions, relationship to others