Okay, so I think this relates to a question you answered about the Narrative Argument (which is still causing me some some confusion....). There were a couple of different encoding options and I'm not 100% settled, but here's a close version that you helped me with:
"While tragic to the individual, ceasing to write a thesis for a despicable authority figure can keep you from working for a tyrant."
So in my dystopian story, the farmer/researchers are trying to prove that their techniques will work to save the world from starvation (I use the word "prove" here but I could try to encode it more as theorizing). Unfortunately, doing this work is almost impossible because the farm is under the thumb of a local land baron/tyrant. So the solution to the story is to let go of the need to keep doing this work (theorizing). Through events that I won't lay out here, "stopping theorizing" frees them from the land baron -- though with tragic consequences.
Now my IC's problem is Proven. So I am coming up with a bunch ways in which her need to prove things (having to prove things, etc.) is causing problems for her (e.g. she is compelled to verify the MC's identity which causes problems, etc.).
Meanwhile, my MC's problem (drive in this case) is Expectation. He really sees the potential for this sustainable farming stuff and believes the farm can make it happen -- you can say he has very high expectations for it -- but doesn't care about proving anything to anybody, he just wants it to work.
So I'm circling around a climax for the story where (after many events) the IC realizes that the "proof" of their approach (maybe through an action or revelation from the MC?) is a lie. In response, she burns down the research barn (to destroy this evidence). This effectively frees them from the land baron -- but it also destroys their farm.
So (assuming I go with this) does the IC's final decision to reject Proven mean that she's embracing Unproven? Or is she somehow adopting the MC's approach of Expectation here (and I need to encode it that way?)
What is the Storymind trying to tell me?!
Would this work better if I tried to write a perspective without Dramatica terms?