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This can prevent the character from ever accepting the obvious truth and continuing to labor under a delusion. To fill this void, several different approaches were taken. Sometimes, words not normally associated with dramatics were called into service, such as Catalyst and Inhibitor. Other times, existing dramatic terms were more precisely defined, or redefined to meet a particular descriptive need, such as Main Character meaning the audience's position in a story and NOT meaning a hero nor a Protagonist. As a last resort, completely new.

Although Dramatica's use of terminology is the biggest hurdle to quick understanding, it is also its greatest strength for it allows the theory and software to describe dramatics with far greater precision than previously possible. Dream -- [Variation] -- dyn. Dreaming is full of "what ifs. One Dreams of winning the lottery even though one "hasn't got a hope.

Dreaming has no such limitation. Nothing has to indicate that a Dream will come true, only that it's not impossible. Dreaming can offer a positive future in the midst of disaster. It can also motivate one to try for things others scoff at. Many revolutionary inventors have been labeled as Dreamers. Still and all, to Dream takes away time from doing, and unless one strikes a balance and does the groundwork, one can Dream while hopes go out the window for lack of effort. The primary concern is the kind of storytelling you want to do.

If you want action to be the focus of your storytelling, choose action. If you want deliberation to be the focus of your storytelling, choose decision. It's that simple. Dynamic Pair -- [Structural Term] -- A pair of items whose relationship is that they are extreme opposites -- In any given quad, Dynamic Pairs are represented as two items that are diagonal to each other. A quad consists of four items and therefore contains two Dynamic Pairs. Their relationship can imply conflict, or it can imply synthesis. These are the negative and positive aspects of Dynamic Pairs.

Dynamics -- Dramatic forces that determine the course a story will take. First is the structure that represents the dramatic potentials that exist in character, plot, and theme at the beginning of a story. Second are the dynamic forces that will act upon the dramatic potentials to change the relationship between characters, change the course of the plot and develop the theme as the story unfolds. In Dramatica, choices between alternative forces such as "Success or Failure" and "Change or Steadfast" determine the dynamics that will act upon a story.

Effect -- [Element] -- dyn. One might argue its pros and cons, yet ignore how the Effect came to be in the first place. On the plus side, concentrating on Effect keeps the effort focused on the problem or goal. On the minus side, it can lead to beating a dead horse. Failure may follow if one puts all one's efforts into dealing with the Effect while ignoring the cause.

Should a mayor add to the police force to battle crime or improve social services? The same 64 elements appear in every class, arranged differently by position. Elements represent the most refined and highly detailed approaches and attitudes in the attempt to solve the story's problem. Primarily, they are the building blocks of the characters.

To fully argue the thematic message, it must be addressed from all possible directions. This is accomplished by making sure that all 64 elements are divided among a story's Overall Objective characters. If an element is not used it will leave a hole in the logic or emotion of the story. If one is used more than once, it will obscure the point by showing it in two different incarnations. The reason that elements are repeated from class to class is that they represent the heart of the problem.

When all else is stripped away, the problem must be evaluated by these same building blocks no matter where it was approached from. The reason that the elements are arranged differently from class to class is that the way they are grouped depends upon the direction from which the story approaches them. When the story is approached from a given class, it is like looking at the problem from a particular direction. All the same elements are seen, but from a different point of view. Emotion -- [Archetype] -- An Archetype who represents the motivations of Feeling and Uncontrolled -- The Emotional Archetypal Character reacts passionately to turns of events without considering the consequences or best course to achieve his purpose.

Frequently portrayed as a "screamer" or "big dumb ox" this character is really not stupid. He actually represents feeling and frenzy. So his nature is to feel deeply about issues but be unable to focus that heartfelt intensity in any useful direction. Rather, he tends to go off the deep end and thrash out aimlessly, frequently to the detriment of himself and those around them.

Such a character can prove to be a Trojan horse by storytelling him into the enemy's camp where he will almost certainly wreak havoc. Empathy -- Empathy describes the complete identification of the audience with the Main Character such that the audience sees the story through his eyes. Ending -- [Element] -- dyn. He may wish to prevent it or to hasten it, but his primary concern is when it's going to be over. A very useful trait in dealing with steps or phases.

Not very useful if the process or situation is really un-ending. Since the character representing the Ending characteristic assumes that everything must end sooner or later, he cannot accept that some things never end.

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Some relationships will last a lifetime, come what may. But if one partner believes it can end, he will always worry, looking for signs of its demise. If he was an Ending person, Prometheus was sorely mistaken. Weeds grow back and Rust never sleeps! The mind has the ability to synthesize abstract truth that has not been or cannot be observed. When a character is able to come to an understanding of the whole that exceeds the sum of the observed parts, he is said to be Enlightened.

A truly refined thematic conflict can be explored in the relationship between the practical Wisdom born of great experience and the aesthetic Enlightenment born of great insight -- syn. The Equity characteristic makes a character want everything to work out fair and square. He will spend his time trying to maintain balance and will judge the acceptability of a situation by its apparent equilibrium. On the downside, he may not realize that without inequity there is no motivation and hence no progress. Also, there may not be enough to go around. By "robbing Peter to pay Paul" he might be moving resources back and forth in a way that stresses the whole system which might crumble from the strain -syn.

From this point of view, the feel of the dramatic tension can be defined. Dramatic tension is created between the direction the Main Character is growing compared to the author's value judgment of that growth. A Change Main Character will either grow out of something or grow into something. In the first case, he possesses a characteristic that he will let go. In the second case, he adds a new characteristic to his makeup. But is he correct in stopping something he has been doing or starting to do something new? This is determined by the author's value judgment of Good or Bad.

When a Main Character Stops doing something Bad, that is positive. When a Main Character Starts Positive and Negative affect where the audience places its focus on the story. In a Positive story, the focus is on the effort to find the solution. In a Negative story, the focus in on the effort to escape the problem. Evaluation -- [Element] -- dyn. Rather than just grappling with the bits and pieces, the character creates an understanding of how all the parts fit together. This gives him a better grasp of how to deal with the issue.

The danger is that once he has Evaluated, the situation or circumstances change, yet he is still using the old evaluation as a unit of measure. Meanings change over time and need to be updated to maintain accuracy -- syn. When looking at Evidence, a character does not necessarily have to know exactly what he is looking for, just that the information pertains to the nature of what he is trying to learn about. As a result, he tends to examine the Evidence only in terms of whether or not it is something that falls into a predetermined category.

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Therefore, errors can occur when the Evidence although it pertains to the subject of interest actually holds much more information in another area. This can lead a character to "not see the forest for the trees" because he is looking at the small picture and ignoring the big one.

For example, in a mystery a detective may be looking for Evidence of who committed a murder, when in truth the victim died of natural causes which is clearly indicated if the detective had only thought to look for that -- syn. Expectations allow one to anticipate and make plans for both rewards and troubles.

However, if the character representing Expectation does not occasionally question the basis of his projections, he may find the world has turned under his feet -- syn. In terms of story, Expediency describes what a character feels he must do or be in order to. These consequences can come from his environment, in the form of disapproval by others, or from within in the form of selfrecrimination. If the perceived consequences are internal, Expediency feels like a "moral" pressure but is really the emotional retribution one flails against oneself for not living up to one's own self-image.

If they are external, Expediency feels like peer pressure or a threat to social standing. Expediency is as important an emotional motivation as Need is a motivator of reason. Since Expediency is based on avoiding future punishments or disappointments that may or may not be real, dramatic tension can be easily created between the subjective and objective views. A way to think of Expediency is that when it pops up, characters who are being influenced by it will think of it in terms of "Should.

However, just because the activities become second nature does not mean a character is necessarily good at them. To excel, a character need both Experience AND the innate Skills that can be honed by that experience. If either is lacking or deficient, the character's real ability will be less than its Experiential potential. Of course, from a character's subjective view, when something seems to be real it is impossible to tell from actual fact. No matter how strongly a belief, understanding, or knowledge of something is held, subjectively there is always the possibility some change in the situation or additional information will prove it to be unfactual.

Optical illusions are a good case in point. The moment a character accepts something as fact is the moment a thematic conflict might begin to grow. Nevertheless, Fact represents beliefs that turn out to be real.

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Ultimately, the characters will either achieve that outcome or Fail to do so. The reasons for Failure and in fact the Failure itself may not be bad. For example, in the course of trying to arrive at an outcome, the characters may decide it was wrong to want it or learn that achieving it would hurt people. Whatever the reason, be it nobility or no ability, if the Faith -- [Element] -- dyn. Since the future is uncertain, Faith in one's ability to arrive at one's purpose is a very strong motivator.

However, when one has Faith, it cannot be argued with since it does not rely on logic or proof. The danger of Faith is that it does not allow one to determine if obstacles are signs that ones motivations are misplaced, because the obstacles seem to be tests that must be overcome through steadfast belief -- syn. In other words, what is presented may be absolutely accurate and yet not reflect what is really going on.

Perhaps only a portion of the truth is expressed or more information than is pertinent causes one to misconstrue. A danger is that Falsehood can get away from the control of its creator. Once an error has been passed off as truth, some will continue to accept it as truth even if it is recanted by the person that gave the False account -syn. These groups are Elements, Variations, Types, and Classes. Each of these groups is called a Family. Fantasy -- [Variation] -- dyn. Fantasies exist subjectively so they can either be misinterpretations of the meaning of actual things or internal fabrications of meanings that are not accurate.

Neither one can be consciously intentional or one would be aware of the untruth of the Fantasy. Fantasies are not necessarily bad. In fact, they can be the best way for a character to clarify the nature of his goal. Maintaining the Fantasy allows one to practice responses so that Fantasy might actually turn into fact. Of course, when one lets a Fantasy grow such that it extends beyond the goal and into the means of evaluating progress toward the goal, the Fantasy can become self-sustaining and only imagined progress is ever made -- syn. Destiny is the direction one's life must take, Fate is any given moment along that direction.

So whereas one can have many Fates, one can only have one destiny. In other words, Fate is something of an outcome, or perhaps a step -- just one of a number of Fates along the path of one's destiny. Characters often either make the mistake of assuming that they have only one Fate and are therefore stuck with it, or they mistakenly believe they can achieve their destiny without "passing through" unattractive fates that lie along the path. The nature of a Fate is that no matter how you try to avoid it, it tracks you.

All options that you might exercise still lead to that Fate. That is what also defines Destiny as the limitations on free will that force you to arrive at your Fate no matter how you alter what you do or what kind of person you are. If we all knew the future, there would be no free-will -- syn.

The Feeling characteristic believes "ya gotta have heart. This makes the Feeling characteristic very empathetic to the emotional atmosphere in a situation, yet apt to ignore or pay little attention to necessities -syn. In other stories, an audience member will feel Sympathy for the Main Character, as if the Main Character is a close acquaintance. Male audience members will tend to sympathize Fixed Attitude a. This can be a bias, prejudice, or even a "positive" opinion about anything at all. The key is that the attitude is fixed, meaning it is accepted as a given and not re-evaluated.

Often the Fixed Attitude domain is represented by a group of If the author wants to develop both story and backstory simultaneously during the course of the storytelling by alternating between them, two primary techniques are available: the Flashback and the Flashforward. In the Flashback, the story proper is assumed to take place in the present. Flashbacks then reveal key episodes in the development of the problem the Backstory , sometimes in the past, to underscore or contrast specific points in the story as appropriate and as desired.

In the Flashforward, the Backstory is assumed to take place in the present and the story is revealed to the audience in episodes illustrating the future outcome of forces presently put into play. In either case, by the end of the storytelling, both Backstory and Story have been fully illustrated to the extent desired to convey the intended message Focus -- [Element] -- See Symptom Forewarnings Overall Story Throughline -- [Type] -The indications that the consequence is growing more imminent -- Whether or not the Consequences ever befall the Main Character, there are Forewarnings that indicate their approach and help force the limit of the story and bring the Main Character to the moment where he can be assessed in terms of his Main Character Resolve.

These Forewarnings could be a quick look at a growing crack in the dam which no-one sees, or it could be a mad scientist installing the final component in his doomsday device; however it is represented, its nature will be described by the storytelling of Forewarnings. Future The Future -- [Type] -- what will happen or what will be -- A story focusing on the Future concerns itself with what will be. A character centered on Future may be trying to discover what will be or may be trying a achieve a particular state of affairs down the line.

In both the Story and Character sense, the end is more important than the present although it still may not justify the means -- syn. Progress Gathering Information a. Learning -- [Type] -dyn. It is not the knowledge itself. When a. Gathering Information need not be an academic endeavor. One might learn to express one's feelings or learn about love. Gathering Information does not even require new information as sometimes one learns simply by looking through old information from a different perspective or with a new approach.

It is not important if one is learning to arrive at a particular understanding or just to gather data. As long as the focus is on the process of gaining information or learning, Gathering Information is the operative word. As such, it need not be an object. The Goal might be a state of mind or enlightenment; a feeling or attitude, a degree or kind of knowledge, desire or ability. Although it is his chief concern, the Goal which a Protagonist seeks is not necessarily a good thing for him nor is it certainly attainable.

Only through the course of the story does the value and accessibility of the Goal clarify. Dramatica points out the nature of Goal that is consistent with an Author's dramatic choices, but it remains for the Author to illustrate that nature. For any given category of Goal, an unlimited number of examples might be created. Good -- [Plot Dynamic] -- If at the end of the story the Main Character is no longer nagged by his personal problems, the judgment of the story can be said to be Good -- The Main Character ultimately succeeds in resolving his personal problems -- Even though the effort to achieve the story's goal may result in success, this is not necessarily a good thing for the Main Character.

In fact, success might be obtained in the objective story even though the Main Character fails to resolve his personal problems.

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Similarly, the effort to achieve the story goal might end in failure yet the Main Character ends up overcoming his personal problems. Regardless of whether the objective story ends in Success or Failure, if the Main Character succeeds in resolving his personal problems the outcome is deemed Good. Impact Story, Main Character, and Impact Character in their every story point so that no holes are left in either the passionate or dispassionate arguments of that story -- A Grand Argument Story covers all the bases so that it cannot be disproved. From the perspective that it creates, it is right.

There are four views in a complete story which look at all the possible ways the story could be resolved from all the possible perspectives allowed; these are represented by the perspectives created by matching the four Throughlines with the four Classes the Overall Story, Main vs. Every complete storyform explores each of these perspectives entirely so that their views of the story's problem are consistent and that they arrive at the only solution that could possibly work, allowing the givens built into the story from the start.

When this is done, a Grand Argument has been made and there is no disproving it on its own terms. You may disagree with they story's givens, but as an argument it has no holes. Growth a. Steadfast Characters see their problems as being outside themselves. Sometimes a problem is created by too much of something, other times by too little. Growth describes whether a problem is "too much" of something, or "too little. If a character must change, he has one of these two kinds of problems. Either he is bullheaded in sticking with an inappropriate approach or he simply doesn't use an approach that would be appropriate.

In the "too much" scenario, the character comes off as aggressively obstinate. In the "too little" scenario the character comes off as stubbornly ignorant. The "too much" Change Character needs to "stop. Metaphorically, the Steadfast Character is either a storm trying to weather away an island, or an island trying to hold out against a storm. As Conscience, he provides the audience with the story's assessment of what is good and bad in the world it describes. In his Dynamic Pair relationship, the Guardian counterbalances the efforts of the Contagonist to hinder progress and tempt the Protagonist from the proper path.

Since, according to Archetypal convention, the Protagonist must ultimately face the Antagonist without assistance, both the Guardian and Contagonist must be dramatically nullified before the climax of the story so that they cannot interfere. This often occurs as a separate confrontation between them, just prior to the Protagonist meeting the Antago-. Help -- [Element] -- dyn. This can be a real boon to someone struggling to achieve.

Sometimes, however, someone doesn't want any help. He either wants to do it on his own or what he is trying to do has been misread by the character representing the Help characteristic who is actually hindering him. Did you hear the one about the Boy Scout who helped the little old lady across the street and then she bashed him with her handbag because she had been waiting for a bus? This might be seen as a negative, as it often is.

But sometimes a character functions to hinder an "evil" character, disrupting his plans. Hinder merely indicates the effect on the plans not whether that is a good or bad thing. When one looks at the present situation and notes the direction of change, Hope lies somewhere along that line. As an example, if one is preparing for a picnic and the weather has been sunny, one Hopes for a sunny day.

If it was raining for days, one could not Hope but only Dream. Still, Hope acknowledge that things can change in unexpected ways. That means that Hoping for something is not the same as expecting something. Hope is just the expectation that something will occur unless something interferes. How accurately a character evaluates the potential for change determines whether he is Hoping or dreaming.

When a character is dreaming and thinks he is Hoping, he prepares for things where there is no indication they will come true. Progress -- [Type] -dyn.

Dramatica Dictionary 2000

It is not so important where things were, are, or will be, but rather how the struggle between inertia and change seesaws over the course of the story. The The advantage is that when evidence mounts, even without direct connections, one may draw an analogy that has a substantial likelihood of being correct as in "I've seen that pattern before! The danger is acting upon it as if it were fact.

Impact Throughline Character] -- The character that forces the Main Character to face his personal problem -- Every Main Character has a single Impact Character that forces him to face his personal problems. From the Main Character's point of view, the Impact Character may seem to be blocking the road to the solution of the Main Character's personal problem, or he may seem to be trying to knock the Main Character off the road to the solution.

In a more objective view, the Impact Character functions to block the Main Character from sweeping his personal problem under the carpet, forcing the Main Character to address it directly. In every act, a story problem is introduced that requires the Main Character to expose his personal problem in order to solve the story problem. It is the Impact Character that creates the most personal tension for the Main Character. Frequently, the Main Character is chosen by the author to be the Protagonist as well, and often the Impact Character function is combined with the Guardian or the Contagonist.

In this way, they each do double duty as prime movers of both the Overall Objective and Main vs. Impact concerns of the story. Impact problems of the story. Impact Character Approach -- [Character Dynamic] -- By temperament, Impact Characters like each of us have a preferential method of approaching problems. Some would rather work things out externally, others would rather work things out internally.

Choosing "Do-er" or "Be-er" does not prevent a Impact Character from using either approach, but merely defines the way he is likely to first approach a problem, using the other method only if the first one fails. Impact Character's Benchmark -- [Type] -- The standard against which the Impact Character's concern is measured -- The way of telling how much the Impact Character is dealing with the issues at stake for him in the story is by choosing an item in the story and using it as a measuring stick.

This can be subtle or obvious, illustrated perhaps by the number of empty beer cans next to an alcoholic's bed, the severity of a facial tick, or the amount of perfume a character puts on. Impact Character's Concern -- [Type] -- The area of the Impact Character's cares, interests, or goals -- The Impact Character will be interested in achieving some degree of growth or control over things described by this appreciation. This could be in terms of concrete or abstract things, depending partly on the Impact Character's Domain and partly on the twist the author wants to put on that Domain.

The Impact Character in any story has a Unique Ability which makes him uniquely qualified to thwart the Main Character. This is again a trait which is unique to this particular character. Impact Character's Issue -- [Variation] -- the nature of The Impact Character's efforts -- An Impact Character's Issue captures the essence of what that character will represent in the story. The nature of the things he does, intends to do, and effectively means to the passionate argument of the story are all linked in this appreciation.

If the Impact Character Changes something in himself in response to the Main Character's Steadfastness, it is this item, his Problem, which he changes by exchanging it for his Solution. If the Impact Character is Steadfast, though, then he holds onto his problem, deepening his resolve to keep the same motivations at the end of the story as he had when he began the story. Yet, the basic operating system of the mind is cast biologically before birth. Talents, intellectual capacity, instincts - all of these are not learned, but inherited. Among these traits are those specific to females and others specific to males.

To be sure, we can go a long way toward balancing out those traits, yet that does not eliminate them nor diminish their impact. In dealing with the psychology of a Impact Character, it is essential to understand upon which foundation his experience rests. Regardless, based on his way of seeing things, he will determine a potential solution or response by which he hopes to find the solution. The dramatic unit that describes what a Impact Character believes is the path to a solution is his Response. For the Impact Character, it is the element that would alleviate the Impact Character's drive which his Problem Element supplies.

It is not necessarily applied during a story, but it exists in every story nevertheless. Impact Character's Symptom -- [Element] -- Where the Impact Character's attention is most directed -- The Impact Character concentrates his attention where he thinks his problem lies. Just as in the Main Character, an inequity exists in the Impact Character between himself and his environment which is driving him.

The actual nature of this inequity is described by the Impact Character Problem Element. The nature of what is required to restore balance is described by the Impact Character Solution Element. From the subjective view afforded to the Impact Character though, the inequity does not appear to be between himself and the Environment but wholly in one or the other.

The Symptom Element describes the nature of how the problem appears to the Impact Character from his subjective point of view. Symptom really describes the effects of the Impact Character Problem element, but because the Problem element is on the level of his own motivations, Impact Characters can never see his actual problems without solving them.

The Main Character represents the audience's position in the story which, in a sense, represents our sense of self within our own minds. When we consider changing our outlook in regard to a particular issue, we entertain an alternative viewpoint which we examine thoroughly before either adopting or rejecting. The Impact Character represents that alternative point of view. In stories, as in our own minds, this alternative view is seen from where we are positioned currently.

After all, when it comes to changing something about who we are, we don't just make that change without first trying to understand what kind of person we would become and trying to anticipate how it might affect our situation. Over the course of the story, as the Main Character grows, the Impact Character must keep pace to provide alternative perspectives on all the key experiences the Main Character encounters. In this way, the best possible argument for adopting the new viewpoint is made, and the current.

This is how we arrive within ourselves to a point of change, and how the Impact Character drives the Main Character to the same point. For the author, the Impact Character Throughline is the progression through all of the issues which come up while providing alternative perspectives to the Main Character's currently held views. For an audience, the Impact Character Throughline simply describes the kinds of activities and concerns addressed by the Impact Character as he moves through the plot.

The broadest description of the Impact Character's impact in a specific story -- Everything that emanates from what the Impact Character does and represents which primarily relates to his impact alone, as opposed to specific relationships he has with other characters, can be said to be part of the Obstacle Character Domain. There are four different Domains in the structure of any story, represented by the combination of each of the four Classes with each of the four throughlines the Overall Story Throughline, the Main vs.

The Impact Character Throughline describes, in the broadest single term, what the Impact Character represents and the area in which the Impact Character operates within the story. Impact Story is his unique suitability to take the opposite position to the Main Character on the Crucial Element of the story. The nature of this power is what is described by this appreciation. Impulsive Responses a.

Preconscious -- [Type] -dyn. When a story's problem revolves around the unsuitability of someone's essential nature to a given situation or environment, the central issue concerns Impulsive Responses. The solution lies in the character conditioning himself to either hold his tendencies in check or develop methods of enhancing areas in which he is naturally weak in reason, ability, emotion, or intellect. The Inactive characteristic might choose to allow a course of action by not interfering. Or it might refuse to move out of harm's way, thereby forming a resistance to the progress that Both of these are efficient tools for altering the course of an interaction.

However, the Inactive characteristic may also drag its feet in all areas and form a resistance to both good and bad things so that its influence simply hinders everything but changes nothing. The purpose is to see if it is possible that something connects to something else. The character containing the Inductive characteristic has an advantage in taking seemingly unrelated facts and putting them in an order that establishes a potential causal relationship.

This allows him to arrive at conclusions that "limit in" something as a possibility. The drawback is that the conclusion only illustrates one possibility out of an unknown number of possibilities. Unlike deduction, Induction does not rule out competing theories until only one remains.

Rather, Induction simply determines that a particular theory is not ruled out. Problems occur when it is assumed that simply because a causal relationship might exist that it does exist.

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  2. Gentechnologie - ein soziales Problem? (German Edition).
  3. Controla tu lengua en 30 dias: 30 Days to Taming Your Tongue (Spanish Edition);
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This leads to blaming and holding responsible both people and situations that were not actually the real cause. Only if all possible Inductions are compared can the likelihood of any single one be determined -- syn. No matter how much is working right or how much is good, it is the part that is out of balance that occupies his attention.

A character with this trait will spot trouble before anyone else, but he will also never be satisfied unless absolutely everything is worked out -- syn. That which is moving wants to keep moving. That which is at rest wants to stay at rest. An Inertia-oriented character concerns himself with keeping things on an even keel.

He tries to avoid or prevent anything that rocks the boat. He also does not adapt well to change. Subconscious --[Type] -dyn. These feelings are so basic that a character is often not aware of what they truly are. When the Innermost Desires are involved, a character is moved. How much sway they have over an individual depends both upon the nature of the instinct and the intensity of conditioning against the instinct that he has experienced by accident, design, or choice. When one acts or responds according to instinct, there is no conscious consideration beforehand.

Note: This only covers the base game content, this does not address the currently unreleased prequel story addons that are in development. No comments:. Newer Post Older Post Home. Subscribe to: Post Comments Atom. By Nicholas Reicher. On December 3, Usually when I come up with an idea for a book, I usually can flesh the idea for the book out in 5 minutes, flowchart it, plan it, and have my synopsis created within a day.

And start writing it the next. I added in the eight Dramatica characters.

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  3. Dramatica Theory: Thought.

All you have to do is put a checkmark in the space, or write a one word note about how they are that character type. So I added that, and may revise my sheets to have more stuff in them.