Category Archives: Narrative Science

Narrative Analysis – American Student Released by DPRK (North Korea)

American student released from DPRK (North Korea) – What’s the narrative?

Salient narrative facts:

1. The student is in a coma since March due to botulism, according to DPRK sources.

2. The DPRK has launched 16 missiles in the last few weeks, garnering international concerns.

3. The DPRK recently threatened a first strike nuclear attack against the United States to “protect itself.”

4. The student has been in custody for 17 months and his condition was not known.

Narrative assessment:

The release of the American student, especially in a coma from a cause that creates suspicion of foul play or at least lack of expected protections, is not an olive branch but a further provocation designed to additionally fan the flames of American sentiment against the DPRK.

Clearly, the DPRK is trying to provoke some sort of preemptive action on the part of the United States beyond merely tightening sanctions.

Narrative question:

What is the motivation of the DRPK in attempting to provoke preemptive action against it by the United States, and what are their likely reactions to alternative potential actions?

In previous work we have done for the CIA, NSA, NRO and Joint Chiefs of Staff, this would be the starting point for full-scale narrative analysis of potential scenarios including the creation of a motivation map of the DRPK and specifically of KIm Jong-un, as well as a narrative projection of future behavior , leading to a recommendation of the most effective action plans for United States policy officials.

Most of our analyses, ranging from our presence in Afghanistan to psychological deterrents against Chinese cyber incursions, are largely based on open source material, which holds a wealth of narrative data, hidden within the subject matter, invisible to those untrained in the science and methods of narrative analysis and narrative creation.

Contact us for information about narrative analysis and creation services at narrative@storymind.com

Group Identity – A Society’s Sense of Self

Here’s a little essay on how narrative can determine whether a group, culture, or society will hang together or fall apart…

When you see a society as a group mind, you can see that it must have an identity, just as we do: “I think therefore I am.”  In stories, this identity is the main character – the sense of self of the story mind.  Think of “corporate identity” of being a fan of a television show who goes to a convention about the show and connects with all the other fans.  As individuals, we get a sense of belonging to something bigger than ourselves, that reflects a part of who we are and binds us all together.

When we say we are Democrats or Republicans, we are not saying that is all we are, or that the group identity for our part is the totality of our being, but rather that a portion of ourselves as individuals is represented by that group identity and, in that regard “we are all alike” and at the same time, we are NOT like members of the other party.

Every tribe, every sports team, needs a corporate identity or there is no glue to hold it together as it is just a collection of individuals (This IS the United States used to be These ARE the United States).  Of late, we are struggling with our common identity as Americans because the gap between the two party’s agendas has become so wide that we no longer feel like Americans when the other party is in power, or perhaps better put: we feel they are not Americans and we are foreigners in our own country (“Dude, Where’s my Country?”)

Often what helps focus a grow a group identity is a figure head – an avatar for the sense of self of the group mind, such as Steve Jobs with Apple or a religious or ethnic martyr like William Wallace (“Braveheart”) or Jesus Christ himself.  In the case of Apple, the corporation chose to end the avatar of Jobs when he died and tried to have Apple itself become its own main character, with little success.  In contrast, Kentucky Friend Chicken maintains the avatar of Colonel Sanders, just as Disney did for may years, and still to a small extent today.

We took on a narrative consulting job for a sports team once that had all the most expensive and best players in terms of stats, but couldn’t win in the clutch.  We analyzed the narrative and discovered the problem was so simple it is hard to see:  The players were asking “What can I do for my team?” rather than asking “What can WE do AS a team?”  As long as they saw themselves as individuals contributing to the greater good, no team identity could form.  So our narrative prescription was to instill a sense of all being contributors, rather than each contributing his best ability.  This would lead individual members to accept being benched or put in a less important order of play for the good of the group, and they would then begin to click as a team and to win.

So, for a society – ANY society – to become cohesive and to stand strong, it must develop a group identity, and that “brand” must be personified by a personality, real or fictitious.

Melanie Anne Phillips

Learn more about Narrative Science

Of Men, Women, and Narrative

Not to be cryptic, but perhaps the answer you seek cannot be found from the wisest man because the answer is just beyond what men can see. It is also just beyond what women can see, but then it is a different answer. What men seek is the special knowledge that women possess and women seek the special knowledge that men possess.

In the early days of developing the Dramatica theory of narrative, hidden in the dynamics that drive story, we discovered a difference between the way men and women think – like the difference between Windows and Mac operating systems. Each gets the same jobs done, each is better suited to some things than the other, and not suited to other things as well. Programs designed for one will not run in native mode on the other, and must be translated through running a “virtual” version of the other OS as an environment within the native OS.

In fact, of the eight essential dynamic questions, the one currently called Problem Solving Method (Linear or Holistic) was originally called Mental Sex (Male or Female) and applied to the Main Characters mental orientation. It was this way for many years until confusion among writers who failed to read our explanations led Write Brothers to change the name (without my input) in order to make it more “accessible” to writers so the software would appear easier to use. In the end, I am not sure it helped or hurt, but it did obfuscate and essential aspect of the psychology of a story mind, be it an individual or a group.

Essentially, we have eight dimensions open to us: Mass, Energy, Space, Time when observing externally, and Knowledge, Thought, Ability, Desire when observing ourselves. The four external and four internal dimensions relate to one another the same way, relativistically, as in E=MC2. In fact, we call the name of the science of the psychology behind the Dramatica model, Mental Relativity.

As it turns out, though we all have the same dimensions, the order in which we explore them differs between males and females.

If life was static, and if our minds were static, this would have no affect – we would each eventually view all eight and determine the meaning of any given situation. But, the observer changes the observation, and therefore by the time we get to the last of the eight, it is no longer the situation internally as it was when we began our exploration. We cannot hold our minds constant while we explore them. So, since men and women are forced by the biology of the brain itself to take different paths through this exploration, the two sexes always see the first part of the exploration more accurately (clearly) than the end, but that first part is comprised of different dimensions between the sexes.

It amounts to about 3/4 of a quad that we can see to some degree of direct clarity and the final 1/4 of the quad is almost fully “calculated” from the other three items as hardly any of it can be seen for what it originally was when you started.

Therefore, a man can only lead another man 3/4 of the way to wisdom and then tell him what his experience have “calculated” that last leg might be. And for women, it is the same. And, alas, a man cannot tell a woman what he sees directly, because she is incapable of seeing it directly, and vice versa. So, as they say in a famous movie, “No one can tell you what the Matrix is – you have to see it for yourself.”

And this is why men and women take their journeys of discovery, both external and internal, to see the 3/4 they can directly observe is so many contexts that they can better approximate the 1/4 they cannot directly see. And, if you gain enough experience and truly achieve “enlightenment,” then you will have sufficient information to suddenly “grok” the truth of that final 1/4 all at once in an epiphany that you then find impossible to communicate to anyone else.

So, enlightenment is what one truly seeks for oneself, but “wisdom” is to know you cannot share enlightenment but merely help others find the path to their own.

There is much more to this part of the theory – the biological brain differences that create this, how it led to cultures that reflect male thinking, how there are four levels of the mind and Mental Sex is the only one cast in biology and not available to the other half of the population.

In the end, there are two alien species living on the planet, each in possession of the secret the other seeks, but that they do not know they have and could not communicate if they did.

Melanie Anne Phillips

What is Truth? (The Character’s Dilemma)

By Melanie Anne Phillips

Characters reflect real people in a purified or idealized state.  And so, we can see in them qualities and traits that are hard to see within ourselves.  One of the most difficult challenges we face every day are exemplified by characters in virtually every story – the inability to confidently understand “what is truth?”

In this article, excerpted from the Dramatica Narrative Theory Book I wrote with Chris Huntley, the elusive and changing nature of truth is explored for the benefit of your characters and yourself.

What Is Truth?

We cannot move to resolve a problem until we recognize the problem. Even if we feel the inequity, until we can pinpoint it or understand what creates it, we can neither arrive at an appropriate response or act to nip it at its source.

If we had to evaluate each inequity that we encounter with an absolutely open mind, we could not learn from experience. Even if we had seen the same thing one hundred times before, we would not look to our memories to see what had turned out to be the source or what appropriate measures had been employed. We would be forced to consider every little friction that rubbed us the wrong way as if we have never encountered it. Certainly, this is another form of inefficiency, as “those who do not remember the past are condemned to repeat it.”

In such a scenario, we would not learn from our mistakes, much less our successes. But is that inefficiency? What if we encounter an exception to the rules we have come to live by? If we rely completely on our life experience, when we encounter a new context in life, our whole paradigm may be inappropriate.

You Idiom!

We all know the truisms, “where there’s smoke, there’s fire,” “guilt by association,” “one bad apple spoils the bunch,” “the only good (fill in the blank) is a dead (fill in the blank).” In each of these cases we assume a different kind of causal relationship than is generally scrutinized in our culture. Each of these phrases asserts that when you see one thing, another thing will either be there also, or will certainly follow. Why do we make these assumptions? Because, in context, they are often true. But as soon as we apply them out of context they are just as likely false.

Associations in Space and Time

When we see something occur enough times without exception, our mind accepts it as an absolute. After all, we have never seen it fail! This is like saying that every time you put a piece of paper on hot metal it will burn. Fine, but not in a vacuum! You need oxygen as well to create the reaction you anticipate.

In fact, every time we believe THIS leads to THAT or whenever we see THIS, THAT will also be present, we are making assumptions with a flagrant disregard for context. And that is where characters get into trouble. A character makes associations in their backstory. Because of the context in which they gather their experiences, these associations always hold true. But then the situation (context) changes, or they move into new areas in their lives. Suddenly some of these assumptions are absolutely untrue!

Hold on to Your Givens!

Why doesn’t a character (or person) simply give up the old view for the new? There are two reasons why one will hold on to an outmoded, inappropriate understanding of the relationships between things. We’ll outline them one at a time.

First, there is the notion of how many times a character has seen things go one way, compared to the number of times they’ve gone another. If a character builds up years of experience with something being true and then encounters one time it is not true, they will tend to treat that single false time as an exception to the rule. It would take as many false responses as there had been true ones to counter the balance.

Context is a Sneaky Thing

Of course, one is more sensitive to the most recent patterns, so an equal number of false items (or alternative truths) is not really required when one is aware he has entered a new situation. However, situations often change slowly and even in ways we are not aware. So context is in a constant state of flux. If something has always proven true in all contexts up to this point then one is not conscious of entering a whole new context. Rather, as we move in and out of contexts, a truism that was ALWAYS true may now be true sometimes and not true at other times. It may have an increasing or decreasing frequency of proving true or may tend toward being false for a while, only to tend toward being true again later. This kind of dynamic context requires that something be seen as false as often as it has been seen as true in order to arrive even at a neutral point where one perspective is not held more strongly than the other.

*******

Let me now add a short conclusion to this excerpt from the Dramatica Book….

Truth is a process, not a conclusion.  If you have ever dipped into Zen, you realize that you cannot fully understand what something is unless you become it, and yet if you do, you lose the awareness of what it is as seen from the outside.

Capital “T” truth is perpetually elusive, as described in the saying, “The Tao that can be spoken is not the Eternal Tao.”  Or, in less cryptic terms, if you define something, you have missed the point because nothing stands alone from the rest of the universe and cannot be fully defined apart from it.

The key to open-mindedness and problem solving is to decalcify your mind, to make it limber enough to perceive and explore alternative points of view without immediately abandoning the point of view you currently hold.

That is the nature of stories – when a main character’s belief system is challenged by an influence character who represents an alternative truth.  The entire passionate “heart line” of a story exists to examine the relative value of each perspective, and the message of a story is the author’s statement that, based on the author’s own experience or special knowledge, in this particular instance, one view is better than the other for solving this particular problem.

There is no right or wrong inherently.  It all depends upon the context, which is never constant.  The philosopher David Hume believed that truth was transient: as long as something worked, it was true, and when it failed to work it was no longer true.

And so, the answer to the question posed at the beginning of this article, “What is truth?” can only be “truth is our best understanding of the moment.”

For a tangential topic, you may with to read my article, “The False Narrative,” in which I explore how to recognize, dismantle and/or create false narratives in fiction and in the real world.

And finally, you may wish to support this poor philosopher and teacher of narrative by trying my Dramatica Story Structuring Software risk-free for 90 days, or my StoryWeaver Step By Step Story Development Software, also risk-free.

Psychoanalyze Your Story

By Melanie Anne Phillips

Does your story suffer from “Multiple Personality Disorder”?

In psychology, Multiple Personality Disorder describes a person who has more than one complete personality. Typically, only one of those personalities will be active at any given time. This is because they usually share attributes, and so only one can have that attribute at any particular moment.

Stories can also suffer from Multiple Personality Disorder if more than one character represents a single attribute. In such a case, both should not be able to appear in the story at the same time. If they do, the audience feels that the story is fragmented, or more simply put, the story has developed a split-personality.

Most writers have been taught that characters, plot, theme, and genre are people, doing things, illustrating value standards, in an overall setting and mood. In contrast, we can think of a story as having a mind of its own in which characters, plot, theme, and genre are different facets that give each story its unique personality.

Characters are the “drives” of this Story Mind, which often conflict as they do in real people. Plot describes the methods used by the Story Mind in an attempt to find a solution to its central problem. Theme represents the Story Mind’s conflicting value standards, which must be played out one against another to determine the best way of evaluating the problem. Genre describes the Story Mind’s overall psychology.

Traditional story theory states that each character must be a complete person to be believable to an audience. But because characters represent the independent drives of a single Story Mind, each is not really a complete person but is rather a facet of a complete mind. In fact, if you make each character complete, they will all be overlapping, and will give your story a split-personality.

It is in the story TELLING stage where characters take on the trappings of a complete person, not in the story STRUCTURE. Each character needs to be given traits and interests, which round out the character’s “presence,” making it feel like a real human being. But these trappings and traits are not part of the dramatic structure. They are just window dressing – clothes for the facets to wear so the audience can better relate to them on a personal level.

Think about the characters you have seen in successful stories. They might represent Reason, Emotion, Skepticism, or function as the Protagonist or Antagonist, for example. Each of these kinds of characters is an “archetype” because it contains a whole family of drives in one character. For example, a Protagonist may contain the drive to “pursue,” and also the drive to be a self-starter, “pro-action.” Because these drives work together in harmony, the character becomes archetypal.

The individual drives don’t have to be bundled in an archetype, however. In fact, each single drive might be assigned to a different character, creating a multitude of simple characters. Or, characters might get several drives but conflicting ones. These characters are more “complex” because their internal make-up is not completely consistent.

Regardless of how the drives (also called character “elements”) are assigned, each drive should appear in one and only one character. If not, your story may develop Multiple Personality Disorder and leave your audience unable to relate to the story as a whole.

Psychoanalyze your story with Dramatica’s

patented interactive Story Engine:

Narrative & Politics

By Melanie Anne Phillips

Narratives are constantly at work in the real world, in business, social movements, and politics.

A good example of this is in the nomination and ultimate selection of Betsy DeVos as Secretary of Education, as follows:

There are many fine Republican educators with higher degrees in education who have worked as teachers, principals or on boards of education. And the vast majority of these also went to public schools as well as their children.

By comparison, President Trump’s selection, Betsy DeVos, has no degree at all in education, never worked as a teacher, principal or on a board of education, and never went to pubic school and neither did any of her children.

Let’s see if we can come up with a strong narrative to support Trump’s selection of DeVos over any of these other potential Republican candidates.

If I were working for the White House writing such a narrative, I wouldn’t base it on her qualifications, since so many other Republicans are clearly so much better qualified.  Therefore, she is easily provable as not the best choice based on qualifications.

So what other attributes can we point to as justification for her selection?

Well, we might say that she is very passionate about the public school systems she will oversee. That’s a good start because it is general, not dependent on qualifications, and impossible to disprove.

Of course, it isn’t likely she is really the most passionate person in regard to public education, since she has never actually spent much time involved with it in any major way before, and since many other far better qualified Republicans who HAVE degrees in education and HAVE made a career of education are likely to be at least or even more passionate about it than she.

That doesn’t work well as a believable narrative either.

So let’s try making an argument for her based on her views on public education. Well, she’s not unique in those, and there are many better-qualified Republicans with equal or greater passion for education who share exactly her same views.

Why, then, did Trump choose her above all other better-qualified Republican educators with the same views and equal or greater passion for the topic?

That’s the real story.

Sometimes the wisest use of narrative is to determine where the story really lies as opposed to where all the attention is going.

This is real world narrative.

Want to improve your organization’s use of narrative?

Contact me about real world narrative
education, analysis and creation

Narrative Structure and the TPP (Trans Pacific Partnership)

By Melanie Anne Phillips

Narrative works in the real world as accurately and efficiently as it does in fiction.  Not surprising since fictional narrative is nothing more than our attempt to refine and understand how people are driven and how they behave in the real world.

At a most basic level, one can see real world narratives emerging in the news every day.  And, with only a little training, one can not only understand how things are, but even project where they will go from here.

A good example is the current news story that the United States will be pulling out of the Trans Pacific Partnership trade agreement.

What follows is a non-political assessment of the narrative significance of that move, and where it will likely lead.

To understand this analysis, you need only know two tiny concepts out of the entire universe of narrative structure, and these are they:

  1.  Narrative is always structured in groups of four dramatic items.
  2. Of the four, three seem similar in nature and one seems not quite the same.

First, the narrative analysis of the TPP, followed by a more in-depth explanation of these two theory points so you might be better able to apply them to your own real world analyses and your story development as well.

Narrative Analysis of the TPP

There are four world players in the trade agreement narrative:

The EU, the Russian Economic Block, the TPP, and China.  As described above, three of these are trade partnerships and one is a single country, which satisfies both of the two theory points listed above.

The quick analysis is that with the United States pulling out of the TPP, there are now five players trying to fit into the world economic quad:  The EU, the Russian Block, the TPP (without the USA), China, and the United States.

The projection of where things will go from here is that the three trading partnerships will mostly hold fast (Brexit, notwithstanding), putting the United States and China in direct economic conflict with one another for the four place at the table.

Like a game of musical chairs, the USA and China will seek to push the other into economic decline through currency manipulations, tariffs, and individual deal-making.  In order to be economically strong enough to hold its own in this fight, the USA must pull back from its current economic and military commitments overseas.  We see this happening already in the stated plans of the current administration in Washington.

In the short run, we will be able to muster the wherewithal to stand toe to toe against China economically, but due to the pull back of United States influence in the world, China will step in to fill that vacuum and gradually form alliances with our allies, increasing their world influence at the expense of ours.  But, as they say, that is another narrative.

In short summary, by pulling out of the TPP we are effectively declaring a one-on-one economic war with China in the belief we can triumph on our own, rather than as a group of economically allied nations.

For the long view, here is more about this world economic quad, how and why it came to be, how it functions, and where it will likely go from here:

In our work using narrative analysis for all of the major United States intelligence organizations over the past five years, we learned a bit about the history of how these trade partnerships emerged, which informs this analysis.  (Knowing the back story always aids in understanding the current story).

When the old Soviet Union was on the verge of collapse, it recognized it needed to shed many of its component republics, such as Chzechoslovia and the Ukraine.  In anticipation of this, it sought western assurances and received promises that the west would not move to exert any political or economic control over these republics.

However, once the Soviet Union dissolved, the Russian Federation discovered that the west was so tempted by the potential power and profits of eastern Europe that, gradually, both political and economic inroads were made.

The EU became the first of the world-size trading partnerships, and its formation clearly threatened the economic and political security of the Russian Federation.  In response, the Russian Federation began to sign up its former satellite republics into exclusive mutual trade agreements as part of a new Russian Economic Block.

Each of these became internally unified and emerged as major economic players on the world stage.  That left North America, South America and the Pacific Rim as of yet unorganized and trying to go it alone against these large trading partnerships.  It also left China on its own as well.

The TPP began as a result of the following reasoning – that China has virtually the same land area as the USA, as well as being almost identical in natural resources, economy, technological capability and trade.  They also have more than three times the population of the United States.  Further, our outreach through the financial and military support of other nations is a great drain on our economy, whereas the Chinese do not put nearly as much of their GDP into these kinds of endeavors and are growing faster that we are.  So, while we are near parity at the moment, the trend is for China to overtake us as the world leader in the next century, if not before.

In order to do economic battle with not only China but the two economic partnerships as well, we organized the TPP to gather all the remaining independent players into a third partnership that would, through its combined strength, be able to hold out against the growing Chinese power for the foreseeable future.

The problem is that in all of these partnerships, the economically stronger nations end up supporting the economically weaker nations in the hope that eventually, all the member nations will rise, even if the stronger nations have to carry the start-up costs for a while.  That makes the partnerships unpopular in the stronger nations leading to some defections from the ranks as with Brexit.

This brings us to the current situation – the fore story – in which three trading partnerships are strong enough to claim a place in the quad and do business with each other, while the USA and China do economic battle with each other, weakening them both so that in the long run, each may lose its position or potential position as a world leader with the economic partnerships becoming political partnerships that then determine the destinies of all remaining independent nations.

Naturally, for the independent nations, the most practical solution is to sew the seeds of disruption in the three trading partnerships so that they fracture and eventually fail, leaving both the USA and China as the defacto world leaders, albeit in their weakened condition from the ongoing economic conflict between them.

While these outlooks appear bleak, narrative structure provides much more positive potential outcomes, including win-win scenarios in which all players might prosper.  But, as alluded to earlier, that is another story.

Contact me about real world narrative analysis

Narrative in a Chaotic World

chaosEven in a chaotic world, the Main Character – be it someone one is talking about or about ourselves as Main Character in our own real world lives – will either be striving to begin something that has not yet started, or to end something that is already going on.

And if we decide that we will change instead because we feel we cannot remain steadfast, then we will grow either by adding a new attribute we have not previously employed in our outlook and in our lives, or we will remove from ourselves a trait we feel is a negative aspect of ourselves and perhaps the very cause of our problems.

True chaos has no predictable pattern.  Narrative is our attempt to find more stable transitory patterns in the ebb and flow – like the Red Spot on Jupiter but rather in terms of behavior – either ours or those around us.  Narrative puts a box around a part of our chaotic world and says that within this box, we can accurately predict the inner workings of things, assuming no force from outside the box disturbs or influences our captive slice of reality.

But one narrative only covers a  particular current or eddy in the chaos, and so we all create many narratives, perhaps scores or hundreds, to cover all the different situations we face in life: our relationship with our family, our relationships with our co-workers, our relationship with our boss, our position in a club, political action group, fans of a show, or just in a philosophical outlook or belief system about some aspect of our evolving life experience.

And yet, each narrative is just an artificially assigned boundary within the holism of human thoughts and feelings – each proposing a course of action, behavior or attitude, like raisins in  a pudding, and the real conflicts of our lives – the true dilemmas – are not about solving the problems within each of our many narratives, but in finding ways to handle the discrepancies among the solutions derived for each narrative independently.

When the proscribed behavioral plan suggest by each of our myriad of individual narratives come into conflict, we must rise above a series of independent solutions to create a greater narrative in which each smaller narrative becomes an element.  And then, we must arranges the interactions and contextual specifications of each of the smaller narratives, favoring one at times and another at other times or in other situations in order to co-ordicnate a larger truth to chart the overall course of our lives.

This becomes our life plan, and the greatest disservice we can do to ourselves is to believe that because it is relatively stable that it is truly constant, or worse, that is it a given.  For there is always a larger context or a force outside our biggest consideration that can bring down or invalidate everything.  We must be firm but flexible, not only in the narratives we cast for ourselves but especially in those we cast for others.

The Dramatica Table of Story Elements is a Model of the Mind

The Dramatica Table of Story Elements is really a model of the mind. Twisting and turning it represents the kinds of stress (and experience) we encounter in everyday life. Sometimes things get wound up as tight as they can – so tight they get snarled and can’t loosen up on their own. And this is where a story always starts. Anything before that point is backstory – how things got wound up in the first place. Anything after that point is story, which is about how external events work to sever the Gordian Knot in one’s thinking that can’t be untied by oneself.

dramatica-chart-3d

Narrative Psychology: To Know Oneself

We all have certain fundamental broad-stroke mental traits such as Reason, Initiative, and Skepticism. As individuals, we use the full spectrum of these tools to try and solve our problems. But when we get together in groups, we quickly self-organize so that one person emerges as the Voice of Reason for the group, another as the Goal-Oriented Leader, and another as the Resident Skeptic.

We specialize in this manner because when trying to solve a group problem or advance a group agenda, we are far more productive together is we each focus on just one of these fundamental tools rather than being a collection of general practitioners all trying to do all the jobs. In this manner, the group gets far greater thought, depth, and action in each area, and then we come together to share with the group what we have found in our area – to say, “this is what it looks like from here.”

In short, the group becomes a model of the individual mind, since that is exactly what we do as individuals, but now each of our attributes has become an archetypal role in a group narrative.

And that is where archetypes really come from – not the collective unconscious per se, nor from myth nor dreams, but simply from the attributes that are common to us all.

So in a sense, the narrative of an individual, and the narrative of a group are the same system at work at two different fractal dimensions.

And each of these has identical structural elements and dynamics.

And yet, the purposes of the group, though shared by each individual in the group, may sometimes come into conflict with a given member’s individual purposes. In fact, all the conflict and tension that is generated in stories and in life come from the dissonance between the needs of the individual and the needs of the group.

The Dramatica model presents this elegantly. The structural model you see can be the mind of one person or the collective mind of a group. It is the same structure, interpreted in two different ways.

When we look at the four levels of the structure as if it were a group mind, we see (from the bottom up) motivations, evaluations, methods, and purposes. When we look at the same four levels as a group mind we see Characters, Theme, Plot and Genre.

The Dramatica twists and turns like a Rubik’s cube, but not arbitrarily. Rather, there are two “justification wind-ups” – essentially two sets of dynamics that torque the structure, twisting it into a position that best fits that mind to its environment. One of these is the Main Character wind-up – representing the compromises he or she has had to make in their outlook to get by in the world and the other is the Objective Story wind-up, which represents the compromises a group mind has had to make to survive. In fact, it is these compromises that determine personality – all the attractions and repulsions based on our unbalanced minds.

And so, to truly understand one’s personal narrative, one must become aware of how the naturally balanced and neutral mind that exist only conceptually differs from the dynamic tensions that are self-perpetuating within ourselves.

In real life we have hundreds of narratives in which we participate, sometimes as the main character and sometimes as one of the archetypes in a larger group mind.

In the end, as complex as this view of the mind is, it all boils down to the fact that once you learn about the equations that generate Dramatica’s quads and the dynamic algorithms that drive the justification wind-ups, you lose the ability to lie to yourself. You can still choose to lie to others, of course, and you can still do terrible things to others, but you will no longer be able to see it as good in your own mind.

To know Dramatica at the core of its representation of human psychology is see the real reasons for your actions and attitudes, whether you want to or not. And I suppose that is the most accurate form of self-knowledge we are allowed in this world.

Melanie Anne Phillips
Co-creator, Dramatica