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REFERENCEPART 1
Appendices
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
_______________________________________________ A P P E N D I C E S
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
T h e D r a m a t i c a S t r u c t u r a l M o d e l
UniversePhysics
PsychologyMind
The Dramatica Structural Matrix is a framework forholding dramatic topics pertinent to Genre, Plot, Theme,and Character in relationships that describe their effect uponone another. During the process of storyforming, thesetopics (called "themantics") are re-arranged much as aRubik's cube might be scrambled, all in response to theauthor's choices regarding the impact they wish to have ontheir audience. As a story unfolds, the matrix unwinds,scene by scene and act by act until all dramatic potentials,both large and small have been completely explored andhave fully interacted.
R E F E R E N C E _________________________________________________
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
4 C l a s s e s
Universe Physics
MindPsychology
A Situation An Activity
A State of MindA Manner of Thinking
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
1 6 T y p e s
Universe Physics
Past Progress
Future Present
Understanding Doing
Obtaining Learning
Conceptualizing Being
Becoming Conceiving
Memory Preconscious
Subconscious Conscious
Psychology Mind
R E F E R E N C E _________________________________________________
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
6 4 V a r i a t i o n sUniverse Variations Physics Variations
Dramatica's64 ThematicVariations
Fate Prediction
Interdiction Destiny
Work Attract
Repel Attempt
Openness Delay
Choice Pre-conception
Fact Security
Threat Fantasy
Instinct Senses
Interpre-tation
Conditioning
Wisdom Skill
Experience Enlighten-ment
Pre-requisites
Strategy
Analysis Pre-conditions
Approach Self Interest
Morality Attitude
State of Being
Situation
Circum-stances
Sense of Self
Knowledge Ability
Desire Thought
Rationali-zation
Commitment
Responsi-bility
Obligation
Permission Need
Expediency Deficiency
Truth Evidence
Suspicion Falsehood
Value Confidence
Worry Worth
Closure Hope
Dream Denial
Investigation Appraisal
Reappraisal Doubt
Psychology Variations Mind Variations
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
6 4 E l e m e n t s
Knowledge Ability
Desire Thought
Inertia Projection
Speculation Change
Order Equity
Inequity Chaos
Actuality Aware
Self Aware Perception
Proven Theory
Hunch Unproven
Effect Trust
Test Cause
Result Ending
Unending Process
Accurate Expectation
Determina-tion
Non-Accurate
Consider Logic
Feeling Reconsider
Pursuit Control
Uncontrolled Avoid
Faith Conscience
Temptation Disbelief
Support Help
Hinder Oppose
Certainty Probability
Possibility Potentiality
Proaction Inaction
Protection Reaction
Deduction Reduction
Production Induction
Acceptance Evaluation
Re-evaluation
Non-acceptance
R E F E R E N C E _________________________________________________
396. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
U n i v e r s e C l a s s
1 Class
4 Types
16 Variations
64 Elements
Universe
FatePrediction
Fact
Inter-diction
DestinyThreat
Fantasy
OpennessDelay
Choice
Security
Pre-conception
Attract
Work
Attempt
Repel
KnowledgeOrder
Actua lityInert ia
Prov enAccurate
EffectResult
ChaosThought
Change Percept ionNon-
AccurateUn-Prov en
ProcessCause
AbilityEquity
AwareProject ion
TheoryExpecta -
tion
TrustEnding
Inequit yDesire
Specula -tion
Self-Aware Determina-tion
HunchUn-Ending
Test
Considera-tion
Fa ithPursuit
SupportCertainty
Deduct ion ProactionAccept-
ance
Disbelie f
Re-Considera-
tion
OpposeAvo id
Induct ion Potent ia lityNon-Accept-
ance
React ion
LogicCon-science
CalmHelp
Probab ilit yReduct ion
Inact ionEva lua tion
Temptat ioFeeling
HinderUn-
Cont rolledProduction Possibility
Re-Eva lua tion
Protect ion
Past
Progress
Present
Future
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
U n i v e r s e T y p e s
Past Progress
PresentFuture
R E F E R E N C E _________________________________________________
398. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
U n i v e r s e V a r i a t i o n s
Past Variations Progress Variations
Fate Prediction
Interdiction Destiny
Fact Security
Threat Fantasy
Openness Delay
Choice Preconception
Work Attract
Repel Attempt
Future Variations Present Variations
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
U n i v e r s e E l e m e n t s
Knowledge Order
Chaos Thought
Aware Projection
Speculation Self Aware
Ability Equity
Inequity Desire
Actuality Inertia
Change Perception
Proven Accurate
Non-Accurate
Unproven
Effect Result
Process Cause
Trust Ending
Unending Test
Theory Expectation
Determina-tion
Hunch
Consider Faith
Disbelief Reconsider
Pursuit Support
Oppose Avoid
Logic Conscience
Temptation Feeling
Control Help
Hinder Uncontrolled
Certainty Deduction
Induction Potentiality
Proaction Acceptance
Non-acceptance
Reaction
Probability Reduction
Production Possibility
Inaction Evaluation
Re-evaluation
Protection
R E F E R E N C E _________________________________________________
400. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P h y s i c s C l a s s
1 Class
4 Types
16 Variations
64 Elements
Physics
Expecta-tion
KnowledgeAbility
Actua lityAware
Prov enTheory
EffectTrust
DesireThought Self-Aware Percept ion
HunchUn-Prov en
TestCause
OrderEquity
Inert iaProject ion
Accurate
ResultEnding
Inequit yChaos
Specula -tion
ChangeDetermina-
tion
Non-Accurate
Un-EndingProcess
Considera-tion
LogicPursuit
Channe led Certainty Probab ilit yProaction
Inact ion
FeelingRecon-
siderat ion
Un-Cont rolled
Avo idPossibility
Potent ia lityProtect ion React ion
Fa ithCon-science
SupportHe lp
Deduct ion Reduct ionAccept-
anceEva lua tion
Temptat ioDisbelie f
HinderOppose
Production Induct ionRe-
Eva lua tionNon-Accep
-tance
UnderstandingD oing
ObtainingLearning
InstinctSenses
WisdomSkill
Interpre-tation
Condition-ing
Experienc Enlighten-ment
ApproachSelf Interest
Pre- Requisites
Strategy
MoralityAttitude
AnalysisPre-
Conditions
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P h y s i c s T y p e s
Understanding Doing
LearningObtaining
R E F E R E N C E _________________________________________________
402. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P h y s i c s V a r i a t i o n s
Understanding Variations Doing Variations
Instinct Senses
Interpretation Conditioning
Wisdom Skill
Experience Enlightenment
Approach Self Interest
Morality Attitude
Prerequisites Strategy
Analysis Preconditions
Obtaining Variations Learning Variations
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P h y s i c s E l e m e n t s
Knowledge Ability
Desire Thought
Inertia Projection
Speculation Change
Order Equity
Inequity Chaos
Actuality Aware
Self Aware Perception
Proven Theory
Hunch Unproven
Effect Trust
Test Cause
Result Ending
Unending Process
Accurate Expectation
Determina-tion
Non-Accurate
Consider Logic
Feeling Reconsider
Pursuit Control
Uncontrolled Avoid
Faith Conscience
Temptation Disbelief
Support Help
Hinder Oppose
Certainty Probability
Possibility Potentiality
Proaction Inaction
Protection Reaction
Deduction Reduction
Production Induction
Acceptance Evaluation
Re-evaluation
Non-acceptance
R E F E R E N C E _________________________________________________
404. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P s y c h o l o g y C l a s s
1 Class
4 Types
16 Variations
64 Elements
Psychology
State of Being
Situation
ConceptualizingBeing
Conceiving
Becoming
Knowledge
Circum-stances
Sense of Self
DesireThought
Rational-ization
Commit-ment
Responsi-bility
Ability
Obligation
Need
Permission
Deficiency
Expediency
KnowledgeInert ia
Actua lityOrder
Prov enResult
EffectAccurate
ChangeThought
ChaosPercept ion
ProcessUn-Prov en
Non-Accurate
Cause
AwareEquity
AbilityProject ion
TrustExpecta -
tion
TheoryEnding
Inequit ySelf-Aware
Specula -tion
DesireDetermina-
tion
TestUn-Ending
Hunch
Considera-tion
SupportPursuit
Fa ithCertainty
Accept-ance
Proaction Deduct ion
Oppose
Re-Considera-
tion
Disbelie fAvo id
Non-Accep-tance
Potent ia lityInduct ion
React ion
CalmCon-science
LogicHe lp
Inact ionReduct ion Probab ilit y
Eva lua tion
Temptat ioUn-
Cont rolledHinder
FeelingProduction Protect ion
Re-Eva lua tion
Possibility
_______________________________________________ A P P E N D I C E S
________________________________________________________________________ 405.
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P s y c h o l o g y T y p e s
Conceptualizing Being
ConceivingBecoming
R E F E R E N C E _________________________________________________
406. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P s y c h o l o g y V a r i a t i o n s
Conceptualizing Variations Being Variations
State of Being Situation
Circumstances Sense of Self
Knowledge Ability
Desire Thought
Rationalization Commitment
Responsibility Obligation
Permission Need
Expediency Deficiency
Becoming Variations Conceiving Variations
_______________________________________________ A P P E N D I C E S
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
P s y c h o l o g y E l e m e n t s
Knowledge Inertia
Thought
Ability Projection
Speculation Desire
Aware Equity
Inequity Self Aware
Actuality Order
Chaos Perception
Proven Result
Process Unproven
Effect Accurate
Non-Accurate
Cause
Theory Ending
Unending Hunch
Trust Expectation
Determina-tion
Test
Consider Support
Oppose Reconsider
Pursuit Faith
Disbelief Avoid
Control Conscience
Temptation Uncontrolled
Logic Help
Hinder Feeling
Certainty Acceptance
Non-acceptance
Potentiality
Proaction Deduction
Induction Reaction
Inaction Reduction
Production Protection
Probability Evaluation
Re-evaluation
Possiblity
Change
R E F E R E N C E _________________________________________________
408. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
M i n d C l a s s
1 Class
4 Types
16 Variations
64 Elements
Mind
TruthEvidence
Value
Suspicion Falsehood
Re-Appraisal
Worth
ClosureHope
Dream
Appraisal
Denial
Confi-dence
Investi-gation
Doubt
Worry
Knowledge Actua lityAbility
AwareProv en
EffectTheory
Trust
Percept ion Thought Self-AwareDesire
CauseUn-Prov en
TestHunch
OrderInert ia
EquityProject ion
AccurateResult
Expecta -tion
Ending
ChangeChaos
Specula -tion
Inequit yProcess
Non-Accurate
Un-Ending Determina-tion
Considera-tion
PursuitLogic
CalmCertainty
Proaction Probab ilit yInact ion
Avo id
Re-Considera-
tion
Un-Cont rolled
FeelingReact ion Potent ia lity
Protect ion Possibility
Fa ithSupport
Con-science
He lpDeduct ion
Accept-ance
Reduct ion Eva lua tion
OpposeDisbelie f
HinderTemptat io
Non-Accept-
ance
Induct ionRe-
Eva lua tionProduction
MemoryPreconscious
Conscious
Subconscious
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
M i n d T y p e s
Memory Preconscious
ConsciousSubconscious
R E F E R E N C E _________________________________________________
410. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
M i n d V a r i a t i o n s
Memory Variations Preconscious Variations
Truth Evidence
Suspicion Falsehood
Value Confidence
Worry Worth
Closure Hope
Dream Denial
Investigation Appraisal
Reappraisal Doubt
Subconscious Variations Conscious Variations
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
M i n d E l e m e n t s
Knowledge Actuality
Perception Thought
Equity Projection
Speculation Inequity
Order Inertia
Change Chaos
Ability Aware
Self Aware Desire
Proven Effect
Cause Unproven
Theory Trust
Test Hunch
Expectation Ending
Unending Determina-tion
Accurate Result
Process Non-Accurate
Consider Pursuit
Avoid Reconsider
Logic Control
Uncontrolled Feeling
Faith Support
Oppose Disbelief
Conscience Help
Hinder
Certainty Proaction
Reaction Potentiality
Probability Inaction
Protection Possibility
Deduction Acceptance
Non-acceptance
Induction
Reduction Evaluation
Re-evaluation
ProductionTemptation
R E F E R E N C E _________________________________________________
412. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
6 4 C h a r a c t e r i s t i c s o f O b j e c t i v eC h a r a c t e r s
Purpose Elements Evaluation Elements
Knowledge Ability
Desire Thought
Inertia Projection
Speculation Change
Order Equity
Inequity Chaos
Actuality Aware
Self Aware Perception
Proven Theory
Hunch Unproven
Effect Trust
Test Cause
Result Ending
Unending Process
Accurate Expectation
Determina-tion
Non-Accurate
Consider Logic
Feeling Reconsider
Pursuit Control
Uncontrolled Avoid
Faith Conscience
Temptation Disbelief
Support Help
Hinder Oppose
Certainty Probability
Possibility Potentiality
Proaction Inaction
Protection Reaction
Deduction Reduction
Production Induction
Acceptance Evaluation
Re-evaluation
Non-acceptance
Motivation Elements Methodology Elements
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
SUCCESS
1 2
Leap of Faith
Apparent Work andActual Dilemma Stories
In the illustration to the left, character #1 is asteadfast character whose steadfastness ultimatelyleads to failure. This is called an apparent workstory because continuing to work as before seemsto be sufficient to lead to success but leads tofailure instead.
Character #2 remains just as steadfast ascharacter #1, but at the leap of faith decides tochange the formerly steadfast attitude or approachwhich ultimately leads to success. This is called anactual dilemma story because remaining steadfastwould lead to failure.
FAILURE FAILURE
SUCCESS
1 2
Leap of Faith
Actual Work andApparent Dilemma Stories
In the illustration to the left, character #1 is asteadfast character whose steadfastness ultimatelyleads to success. This is called an actual workstory because it requires the character to continueworking the way they have been..
Character #2 remains just as steadfast ascharacter #1, but at the leap of faith decides tochange the formerly steadfast attitude or approachwhich ultimately leads to failure. This is called anapparent dilemma story because remainingsteadfast would lead to success, whereas changingwould lead to failure..
R E F E R E N C E _________________________________________________
414. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
FAILURE FAILURE
SUCCESS
1 2
Leap of Faith
Change Character
The change character will begin along onepath, but will change to another at the leap of faith.Even though this character has chosen (or is justfollowing) a path early on and continues along ituntil the leap of faith, this path only means thatthere is a consistency to their attitude or approach.It does not describe the nature of the path, nordoes it determine the outcome of the decision tochange (character #1 succeeds while character #2fails).
By way of example, the change character maystart out as a wimp and continue being a spinelesswonder, but at the leap of faith gain a backbone.Or conversely, the change character may start outas a closed-minded dictator, but at the leap of faithdecide to let some of her control go.
FAILURE FAILURE
SUCCESS
1 2
Leap of Faith
Steadfast Character
The steadfast character will begin along onepath and remain steadfast until the end. The leapof faith is just as important and can be as traumaticto the character as with a change character becauseat the moment of the leap of faith, the steadfastcharacter must make the determination that theyknow more than others do -- that they are correctand refuse to change from their chosen path.Being a steadfast character does not describe thenature of the steadfastness, nor does it determinethe outcome of their decision (character #1succeeds while character #2 fails).
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Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
C h a r a c t e r i s t i c s o f A r c h e t y p a l C h a r a c t e r s
Motivations MethodologiesMeans ofEvaluation Purposes
Protagonist Consider
Pursuit
Certainty
Proaction
Proven
Effect
Knowledge
Actuality
Antagonist Reconsider
Avoid
Potentiality
Reaction
Unproven
Cause
Thought
Perception
Emotion Feeling
Uncontrolled
Possibility
Protection
Hunch
Test
Desire
Self-Aware
Reason Logic
Control
Probability
Inaction
Theory
Trust
Ability
Aware
Skeptic Disbelief
Oppose
Induction
Non-Acceptance
Non-Accurate
Process
Chaos
Change
Sidekick Faith
Support
Deduction
Acceptance
Accurate
Result
Order
Inertia
Guardian Conscience
Help
Reduction
Evaluation
Expectation
Ending
Equity
Projection
Contagonist Temptation
Hinder
Production
Re-evaluation
Determination
Unending
Inequity
Speculation
R E F E R E N C E _________________________________________________
416. _________________________________________________________________________
Copyright © 1994 Screenplay Systems Inc. • Alpha Documentation • November 14, 1995
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