Table of Scenes & every possible story point on a single page

[Rod]

Back when the Dramatica Email List was still working (run by Bill Schindler at bitranch.com) there used to be a Table of Scenes Generator on the site that would generate a two page chart from a user’s Plot Sequence Report and Story Engine Settings Report.

All one had to do was paste in the plain text versions of those reports into text fields on the site, and it would generate the Table of Scenes.

Does anyone know if this has ever been recreated or re-implemented elsewhere? If so, I’d love to know about it.

I’ve held on to some old sample Table of Scene files that I generated a LONG time ago, and I recently used those old files as a template to make my own customized Table of Scenes for a story I’m working on.

Unfortunately, without the online generator, I had to do the whole thing manually.(which took a couple of days).

I went further than the old Table of Scenes and included everything from the element level as well (as far as the exploration of variations is concerned). I ended up with an amazing one page document that includes every last Story Point from Dramatica, for my story. Now I can refer to it when I’m struggling to remember all my various story considerations.

Here it is, below:

I created it in Microsoft Word and saved it as a PDF, and then converted that to an image. If anyone would like a blank copy of the Microsoft Word *.docx file for their own use, I’d be willing to send it to you via email. Just PM me.

So again, does anyone know if the good old Table of Scenes Generator exists somewhere online, or if someone has made a little utility to generate one?

Thanks!

[bobRaskoph]

You wanna add Nature, Essence, Tendency and Reach, too? And maybe have an indication of the bumps/slides of the progressions?

I don’t know the current format of the plot sequence report and story engine settings report. If you gave me one or two distinct examples of those in plain-text, it wouldn’t take me too long to do a little javascript magic.

[Rod]

Ooh, I’m glad you mentioned Nature, Essence, Tendency and Reach. I had considered adding them at one point, but sort of forgot about it as I was formatting the document. My next 2 posts will be the Plot Sequence Report, followed by the Story Engine Settings report for my story, as-is with no additional text.

Edit: Additionally, the 3rd next post will be the Story Points Output Report, which should provide all the additional points not covered by the PSR or SESR.

[Rod]

Plot Sequence Report for “Your Story”

This report shows how dramatic tension makes itself manifest in a series of discrepancies between plot and theme, act by act.

Information about the relationship between plot and theme comes in two forms in Dramatica. When you begin creating your Storyform, you are presented with a “perfect world” view of your story in which plot is completely aligned with theme. There is no discrepancy between the two, and therefore no dramatic tension. This balanced view is most easily seen in the Theme Browser, available through a tile on the Dramatica Desktop.

Once you arrive at a Storyform, however, you have input information about how that “perfect world” is twisted and warped by problems and conflicting perspectives. As a result, plot no longer matches theme, and the two are often quite out of step with one another.

As your story unfolds, it is the discrepancy between plot and theme that clues the audience in on the nature of the problem at the heart of your story and tells them much about the ways in which such a screwed up situation might be resolved.

Use this report as a guideline to the kinds of thematic considerations which should be addressed in your plot, act by act for each of the four throughlines. By developing this series of plot/theme discrepancies, the progress of your story will reflect the dramatic tension of the effort to unwind all the tentacles of the central problem.

THE OVERALL STORYLINE

The Overall Storyline deals with the kinds of activities the Overall characters will be engaged in, act by act. In “Your Story,” act one deals primarily with Understanding, act two with Obtaining, act three with Doing and act four concentrates on Gathering Information. Each of these acts is made richer by the thematic topics that are explored within it. In act one, “appreciating the meaning of something” (Understanding) is explored in terms of Fate, Prediction, Interdiction, and Destiny. Act two concentrates on “achieving or possessing something” (Obtaining) and is explored in terms of Fact, Security, Threat, and Fantasy. Act three focuses on “engaging in a physical activity” (Doing) and is explored in terms of Openness, Delay, Choice, and Preconception. And act four illustrates “gathering information or experience” (Gathering Information) and is explored in terms of Work, Attraction, Repulsion, and Attempt.

---

THE MAIN VS. IMPACT STORYLINE

The Main vs. Impact Storyline deals with the interactions that occur between the main and impact characters, act by act. In “Your Story,” act one deals primarily with Playing a Role, act two with Developing a Plan, act three with Changing One’s Nature and act four concentrates on Conceiving an Idea. Each of these acts is made richer by the thematic topics that are explored within it. In act one, “temporarily adopting a lifestyle” (Playing a Role) is explored in terms of Rationalization, Commitment, Responsibility, and Obligation. Act two concentrates on “visualizing how an existing idea might be implemented” (Developing a Plan) and is explored in terms of Knowledge, Desire, Ability, and Thought. Act three focuses on “transforming one’s nature” (Changing One’s Nature) and is explored in terms of Deficiency, Need, Expediency, and Permission. And act four illustrates “coming up with an idea” (Conceiving an Idea) and is explored in terms of State of Being, Situation, Circumstances, and Sense of Self.

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THE MAIN CHARACTER THROUGHLINE

The Main Character Storyline deals with the areas that most concern the main character, act by act. In “Your Story,” act one deals primarily with The Present, act two with The Past, act three with How Things are Changing and act four concentrates on The Future. Each of these acts is made richer by the thematic topics that are explored within it. In act one, “the current situation and circumstances” (The Present) is explored in terms of Evidence, Falsehood, Suspicion, and Truth. Act two concentrates on “what has already happened” (The Past) and is explored in terms of Investigation, Appraisal, Reappraisal, and Doubt. Act three focuses on “the way things are going” (How Things are Changing) and is explored in terms of Value, Confidence, Worry, and Worth. And act four illustrates “what will happen or what will be” (The Future) and is explored in terms of Closure, Hope, Dream, and Denial.

---

THE IMPACT CHARACTER THROUGHLINE

The Overall Character Storyline deals with the areas most affected by the impact character, act by act. In “Your Story,” act one deals primarily with Contemplation, act two with Memories, act three with Impulsive Responses and act four concentrates on Innermost Desires. Each of these acts is made richer by the thematic topics that are explored within it. In act one, “present considerations” (Contemplation) is explored in terms of Self Interest, Morality, Attitude, and Approach. Act two concentrates on “recollections” (Memories) and is explored in terms of Prerequisites, Strategy, Analysis, and Preconditions. Act three focuses on “innate responses” (Impulsive Responses) and is explored in terms of Instinct, Senses, Interpretation, and Conditioning. And act four illustrates “basic drives and desires” (Innermost Desires) and is explored in terms of Skill, Experience, Enlightenment, and Wisdom.

[Rod]

STORY ENGINE SETTINGS: “Your Story”

CHARACTER DYNAMICS:
MC RESOLVE: Change
MC GROWTH: Stop
MC APPROACH: Do-er
MC PROBLEM-SOLVING STYLE: Logical
IC RESOLVE: Steadfast

PLOT DYNAMICS:
DRIVER: Decision
LIMIT: Optionlock
OUTCOME: Failure
JUDGMENT: Good

MAIN CHARACTER
(the Main Character)
THROUGHLINE: Situation
CONCERN: The Future
ISSUE: Preconception vs. Openness
PROBLEM: Uncontrolled
SOLUTION: Control
SYMPTOM: Hinder
RESPONSE: Help
UNIQUE ABILITY: Openness
CRITICAL FLAW: Denial
BENCHMARK: The Past
SIGNPOST 1: The Present
SIGNPOST 2: The Past
SIGNPOST 3: How Things are Changing
SIGNPOST 4: The Future

MAIN VS. IMPACT STORY
(The Main vs. Impact Story)
THROUGHLINE: Manipulation
CONCERN: Changing One’s Nature
ISSUE: Commitment vs. Responsibility
PROBLEM: Uncontrolled
SOLUTION: Control
SYMPTOM: Temptation
RESPONSE: Conscience
CATALYST: Rationalization
INHIBITOR: Attitude
BENCHMARK: Developing a Plan
SIGNPOST 1: Playing a Role
SIGNPOST 2: Developing a Plan
SIGNPOST 3: Changing One’s Nature
SIGNPOST 4: Conceiving an Idea

OVERALL STORY
(The Overall Story)
THROUGHLINE: Activity
CONCERN: Obtaining
ISSUE: Self Interest vs. Morality
PROBLEM: Uncontrolled
SOLUTION: Control
SYMPTOM: Avoidance
RESPONSE: Pursuit
CATALYST: Approach
INHIBITOR: Obligation
BENCHMARK: Understanding
SIGNPOST 1: Understanding
SIGNPOST 2: Obtaining
SIGNPOST 3: Doing
SIGNPOST 4: Gathering Information

IMPACT CHARACTER
(the Impact Character)
THROUGHLINE: Fixed Attitude
CONCERN: Innermost Desires
ISSUE: Denial vs. Closure
PROBLEM: Reconsider
SOLUTION: Consider
SYMPTOM: Avoidance
RESPONSE: Pursuit
UNIQUE ABILITY: Closure
CRITICAL FLAW: Preconception
BENCHMARK: Memories
SIGNPOST 1: Contemplation
SIGNPOST 2: Memories
SIGNPOST 3: Impulsive Responses
SIGNPOST 4: Innermost Desires

ADDITIONAL STORY POINTS

GOAL: Obtaining
CONSEQUENCE: Changing One’s Nature
COST: Innermost Desires
DIVIDEND: The Future

REQUIREMENT: Understanding
PREREQUISITE: Developing a Plan
PRECONDITION: Memories
FOREWARNINGS: The Past

[Rod]

Story Points Output for “Your Story”

Comments:

• Resolve: Change (the ultimate disposition of the Main Character to Change or Remain Steadfast as it concerns how the Main Character changes his essential nature while attempting to solve the problem)

• Growth: Stop (the Main Character’s growth toward an ending or beginning as it concerns how regarding the Main Character, the audience is waiting for something to end)

• Approach: Do-er (the Main Character’s preference for external or internal problem solving techniques as it concerns how the Main Character looks for a physical solution to his problem)

• Problem-Solving Style: Logical (the Main Character’s tendency toward linear or holistic problem solving as it concerns how the Main Character uses inherently logical (linear) problem solving techniques)

• Driver: Decision (the kind of activity that pushes the overall story forward as it concerns how in the plot, decisions force actions)

• Limit: Optionlock (the constraint of time or options that, by running out, forces the story to a climax as it concerns how the story climax occurs because all options have been exhausted)

• Outcome: Failure (a logistic assessment of how things ended up as it concerns how the original goal is not achieved)

• Judgment: Good (the story assessment of whether or not the Main Character ultimately resolves his personal problem as it concerns how the Main Character ultimately succeeds in resolving his personal problems)

THE OVERALL STORY THROUGHLINE:

• Throughline: Activity (an activity or endeavor is the general area in which the Overall Story’s problem resides)

• Concern: Obtaining (achieving or possessing something is the area of shared concern in the Overall Story)

• Issue: Self Interest (doing or being based on what is best for oneself is the Overall Story’s thematic focus)

• Counterpoint: Morality (doing or being based on what is best for others is the Overall Story’s thematic rebuttal)

• Thematic Conflict: (the Overall Story’s thematic comparison as it balances Self Interest against Morality)

• Problem: Uncontrolled (directionless, unconstrained is the source of the Overall Story’s difficulties)

• Solution: Control (directed, constrained is the actual remedy for the Overall Story’s problem(s))

• Symptom: Avoidance (stepping around, preventing or escaping from a problem is the principal symptom of the Overall Story’s problem(s))

• Response: Pursuit (the drive to seek after is the apparent remedy for the principal symptom of the Overall Story’s problem(s))

• Benchmark: Understanding (appreciating the meaning of something is the standard by which progress is measured in the Overall Story)

• Catalyst: Approach (one’s methodology of doing or being is the kind of item which serves to push the Overall Story forward)

• Inhibitor: Obligation (accepting a task or situation in exchange for someone’s earlier or potential favors is the kind of item which serves to impede the Overall Story’s progress)

THE MAIN CHARACTER THROUGHLINE:

• Throughline: Situation (a situation or environment is the realm of the Main Character’s personal journey and growth)

• Concern: The Future (what will happen or what will be is the issue or issues held in greatest importance by the Main Character)

• Issue: Preconception (adhering to a previous held view; unwillingness to reevaluate is the Main Character’s personal thematic focus, topic, or value standard)

• Counterpoint: Openness (willingness to reevaluate is the thematic opposite to the area of the Main Character’s greatest sensitivity)

• Thematic Conflict: (the thematic comparison within the Main Character as it balances Preconception against Openness)

• Problem: Uncontrolled (directionless, unconstrained is the source of the Main Character’s drive; the source of the Main Character’s problems)

• Solution: Control (directed, constrained is what is needed to truly satisfy the Main Character’s drive; the solution to the Main Character’s problems)

• Symptom: Hinder (undermining another’s effort is the area or item the Main Character believes the problem to be)

• Response: Help (a direct assistance to another’s effort is the response of the Main Character to his apparent problems)

• Benchmark: The Past (what has already happened is the standard by which the Main Character’s degree of growth is indicated)

• Unique Ability: Openness (willingness to reevaluate is the quality that makes the Main Character uniquely qualified to resolve the story’s problem)

• Critical Flaw: Denial (the refusal to admit to oneself or others that a previously held view is no longer true is the quality that inhibits or undermines the Main Character’s effectiveness, specifically his Unique Ability)

THE IMPACT CHARACTER THROUGHLINE:

• Throughline: Fixed Attitude (a fixed attitude or outlook is the general area in which the Impact Character operates)

• Concern: Innermost Desires (basic drives and desires is the Impact Character’s primary objective or purpose)

• Issue: Denial (the refusal to admit to oneself or others that a previously held view is no longer true is the area of the Impact Character’s greatest impact)

• Counterpoint: Closure (bringing something to an end or to completion is the thematic comparison of the Impact Character’s impact)

• Thematic Conflict: (the thematic comparison of the Impact Character’s impact as it balances Denial against Closure)

• Problem: Reconsider (thinking through again is the nature of the Impact Character’s drive)

• Solution: Consider (weigh pros and cons is the item, event, or process needed to truly satisfy the Impact Character’s drive)

• Symptom: Avoidance (stepping around, preventing or escaping from a problem is the area in which the Impact Character believes the problem can be resolved)

• Response: Pursuit (the drive to seek after is the Impact Character’s point of attack)

• Benchmark: Memories (recollections is the standard by which the Impact Character’s impact is measured)

• Unique Ability: Closure (bringing something to an end or to completion is the quality that makes the Impact Character uniquely qualified to pressure the Main Character to change his nature)

• Critical Flaw: Preconception (adhering to a previous held view; unwillingness to reevaluate is the quality that inhibits or undermines the Impact Character’s impact)

THE MAIN VS. IMPACT STORY THROUGHLINE:

• Throughline: Manipulation (a manner of thinking or demeanor is the general area of difficulty between the Main Character and the Impact Character)

• Concern: Changing One’s Nature (transforming one’s nature is the topic of contention between the Main Character and the Impact Character)

• Issue: Commitment (a decision to stick with something regardless of the consequences is the Main vs. Impact Story’s thematic focus)

• Counterpoint: Responsibility (taking, accepting, or assuming control to the exclusion of others is the Main vs. Impact Story’s thematic comparison)

• Thematic Conflict: (the Main vs. Impact Story’s thematic comparison as it balances Commitment against Responsibility)

• Problem: Uncontrolled (directionless, unconstrained is the underlying cause of the difficulties between the Main Character and the Impact Character)

• Solution: Control (directed, constrained is the specific element that can resolve the difficulties between the Main Character and the Impact Character)

• Symptom: Temptation (the urge to embrace immediate benefits despite possible consequences is the area in which the Main Character and the Impact Character’s attention is concentrated)

• Response: Conscience (forgoing an immediate pleasure or benefit because of future consequences is the nature of growth in the relationship between the Main Character and the Impact Character)

• Benchmark: Developing a Plan (visualizing how an existing idea might be implemented is the standard by which growth between the Main Character and the Impact Character is measured)

• Catalyst: Rationalization (an alternative explanation used to mask the real reason is the type of interaction that increases conflict between the Main Character and the Impact Character)

• Inhibitor: Attitude (demeanor or outlook is the type of interaction that decreases conflict between the Main Character and the Impact Character)

CENTRAL PLOT POINTS:

• Goal: Obtaining (achieving or possessing something is the central “objective” of the Overall Story)

• Consequence: Changing One’s Nature (transforming one’s nature is the result of failing to achieve the goal)

• Cost: Innermost Desires (basic drives and desires is the prices that must be paid on the way to the goal)

• Dividend: The Future (what will happen or what will be is the benefits enjoyed on the way to the goal)

• Requirements: Understanding (appreciating the meaning of something is the necessary precursors to achieving the goal)

• Prerequisites: Developing a Plan (visualizing how an existing idea might be implemented is the steps or items needed to meet the requirements)

• Preconditions: Memories (recollections is restrictions imposed on the effort to reach the goal)

• Forewarnings: The Past (what has already happened is the foreshadowing events that indicate the approach of the consequence)

THE OVERALL STORY ACT ORDER:

• OS Signpost 1: Understanding (appreciating the meaning of something)

• OS Journey 1: (as the Overall Story continues through Act 1 it grows from a concern with Understanding into a concern with Obtaining)

• OS Signpost 2: Obtaining (achieving or possessing something)

• OS Journey 2: (as the Overall Story develops in Act 2 it grows from a concern with Obtaining into a concern with Doing)

• OS Signpost 3: Doing (engaging in a physical activity)

• OS Journey 3: (as the Overall Story moves towards a climax in Act 3 it grows from a concern with Doing into a concern with Gathering Information)

• OS Signpost 4: Gathering Information (gathering information or experience)

THE MAIN CHARACTER ACT ORDER:

• MC Signpost 1: The Present (the current situation and circumstances)

• MC Journey 1: (as the Main Character continues through Act 1 he grows from a concern with The Present into a concern with The Past)

• MC Signpost 2: The Past (what has already happened)

• MC Journey 2: (as the Main Character continues through Act 2 he grows from a concern with The Past into a concern with How Things are Changing)

• MC Signpost 3: How Things are Changing (the way things are going)

• MC Journey 3: (as the Main Character moves towards the story climax in Act 3 he grows from a concern with How Things are Changing into a concern with The Future)

• MC Signpost 4: The Future (what will happen or what will be)

THE IMPACT CHARACTER ACT ORDER:

• IC Signpost 1: Contemplation (present considerations)

• IC Journey 1: (as the Impact Character continues through Act 1, his impact on Contemplation deepens until it switches to Memories)

• IC Signpost 2: Memories (recollections)

• IC Journey 2: (as the Impact Character continues through Act 2, his impact on Memories deepens until it switches to Impulsive Responses)

• IC Signpost 3: Impulsive Responses (innate responses)

• IC Journey 3: (as the Impact Character moves towards the story climax in Act 3, his impact on Impulsive Responses deepens until it switches to Innermost Desires)

• IC Signpost 4: Innermost Desires (basic drives and desires)

THE MAIN VS. IMPACT STORY ACT ORDER:

• M/I Signpost 1: Playing a Role (temporarily adopting a lifestyle)

• M/I Journey 1: (as the relationship between the Main Character and the Impact Character develops through Act 1 it grows from a concern with Playing a Role into a concern with Developing a Plan)

• M/I Signpost 2: Developing a Plan (visualizing how an existing idea might be implemented)

• M/I Journey 2: (as the relationship between the Main Character and the Impact Character develops through Act 2 it grows from a concern with Developing a Plan into a concern with Changing One’s Nature)

• M/I Signpost 3: Changing One’s Nature (transforming one’s nature)

• M/I Journey 3: (as the relationship between the Main Character and the Impact Character moves towards a climax in Act 3, it grows from a concern with Changing One’s Nature into a concern with Conceiving an Idea)

• M/I Signpost 4: Conceiving an Idea (coming up with an idea)

OVERVIEW STORY POINTS:

• MC Backstory: (the occurrences from the Main Character’s past which account for the personal problems with which he begins the story)

• IC Backstory: (the occurrences from the Impact Character’s past which account for the motivations with which he begins the story)

• M/I Backstory: (the history of the Main Character’s and the Impact Character’s opposing points of view which accounts for the conflict with which they begin the story)

• OS Backstory: (the analytical reasons for how things have come to be as they are for all the story which involves all of your characters)

• Master Character Synopsis: (a description of your story as it would appear when seen purely from the perspective of character)

• Master Plot Synopsis: (a description of the events of your story as they would appear when seen purely from the perspective of plot)

• Master Theme Synopsis: (a description of your story as it would appear when seen purely from the perspective of its thematic comparisons)

AUDIENCE STORY POINTS:

• Nature: Apparent Dilemma (the seminal dramatic framework of a story’s message which indicates if the Main Character makes a proper decision to Change or Remain Steadfast as it concerns how the Main Character’s decision to change results in failure)

• Essence: Negative Feel (the primary dramatic feel of a story as it concerns how the problem is closing in on the Overall Characters)

• Tendency: Unwilling (the degree to which the Main Character feels compelled to embrace the quest as it concerns how the Main Character unwillingly participates in the effort to find a solution to the story problem)

• Reach: Both (the manner in which the audience identifies with the Main Character as it concerns how both women and men will tend to empathize with the Main Character in this story)

[Rod]

Ok, those are the 3 reports.

To get the values for the Setup, Revelation, Conflict, and Aftermath for each Signpost (or Journey depending on how you want to look at it), use the Plot Sequence Report. Where you see that a Signpost is explored in terms of a, b, c, and d, that order of Variations determines the exact order for Setup, Revelation, Conflict, and Aftermath for each of the throughlines. The order isn’t arbitrary, and is unique to each storyform.

You’d have to have some way of analyzing signpost order, variation order as in the PSR, etc., in order to get the bumps and slides… Not sure how you’d do that, but maybe you have some ideas.

All this is quite a lot of information to sort through, which I had to do manually for my new version of the ToS. That’s why having an automated way of parsing out the information would be an incredible time & headache saver.

[Rod]

One more thing. I don’t know of a report that lists out the 4 elements under each variation, so that may have to be excluded unless you have a text listing of those that can be copied & pasted into the ToS.

The original ToS Generator didn’t provide resolution down to the element level, anyhow. I just wanted to do that for completeness in my own Table.

[jhull]

That’s a cool looking table there, @Rod. I haven’t seen that ToS around anywhere, but it would be a nice addition to future version of Dramatica.

[Rod]

Thanks a lot, @jhull. I agree, it would make a great addition to Dramatica… (I’m still holding out for a Windows version of Dramatica Story Expert, by the way. Still working with the now (very old, but still useful) Dramatica Pro 4.

@bobRaskoph I’m working on a text listing of the Variations and the elements that fall below them, so you’ll soon have an additional resource to make your automated Table of Scenes just as detailed as the one I did manually. I’ll post that text listing once I’ve completed it.

I’m sure you can all see by now that I’m definitely a structuralist, to put it mildly.

[mlucas]

Hi Rod, just a question about the importance of the Variation order. Is this due to the fact that you are using them as Setup, Revelation, Conflict, and Aftermath?

I notice that Chris Huntley (@chuntley) in the Screenplay.com thread Plot Sequence Report: Are the Variations sequential? suggests that the order isn’t that important – but maybe it depends on how you are using them.

[Rod]

I defer to Chris @chuntley on the importance of the order. Dramatica does, however, adjust the order of the variations to some “ideal” order for exploring them, according to the way your storyform is arranged, and the discussions in Dramatica about PRCO (Potential, Resistance, Current, Outcome) which can be directly mapped to Setup, Revelation, Conflict, and Aftermath.

The “ideal” or perhaps “optimized” variation order is what you see in the Plot Sequence Report. The order isn’t arbitrary, and proposes an arrangement of Bumps and Slides ( similar to the Z/N, U/C, and X/Hairpin patterns that occur with the Signpost order) that (might) be useful when you’re crafting your story.

The software may also calculate the element order underneath each variation as well, but doesn’t present that information to the user in any way that I can find. And at the element level, I’m sure the order is even less important than it is at the variation level, anyway.

Ultimately, variation order probably isn’t of monumental significance, so long as each issue is thoroughly explored. It’s just nice to have a suggested order, for those of us who are perfectionists/structuralists, such as myself!

Edit: Additionally, Setup, Revelation, Conflict, and Aftermath were a part of the original Table of Scenes Generator created by Bill Schindler who ran the Dramatica Email List. I vaguely recall discussions on the email list about the order of the variations and how the order presented in the PSR doesn’t need to be strictly followed.

[Rod]

@bobRaskoph, as promised, here’s the list of Variations (with supporting elements that fall under each Variation), in alphabetical order for convenience:

Ability (Effect, Cause, Accurate, Non-accurate)
Analysis (Deduction, Induction, Reduction, Production)
Appraisal (Probability, Possibility, Inaction, Protection)
Approach (Consider, Reconsider, Logic, Feeling)
Attempt (Inaction, Protection, Evaluation, Re-evaluation)
Attitude (Support, Oppose, Help, Hinder)
Attraction (Proaction, Reaction, Acceptance, Non-acceptance)
Choice (Logic, Feeling, Conscience, Temptation)
Circumstances (Aware, Self-aware, Equity, Inequity)
Closure (Consider, Reconsider, Pursuit, Avoidance)
Commitment (Pursuit, Avoidance, Faith, Disbelief)
Conditioning (Inertia, Change, Projection, Speculation)
Confidence (Theory, Hunch, Trust, Test)
Deficiency (Probability, Possibility, Evaluation, Re-evaluation)
Delay (Pursuit, Avoidance, Support, Oppose)
Denial (Conscience, Temptation, Help, Hinder)
Desire (Trust, Test, Expectation, Determination)
Destiny (Aware, Self-aware, Projection, Speculation)
Doubt (Reduction, Production, Evaluation, Re-evaluation)
Dream (Faith, Disbelief, Support, Oppose)
Enlightenment (Result, Process, Ending, Unending)
Evidence (Ability, Desire, Aware, Self-aware)
Expediency (Inaction, Protection, Reduction, Production)
Experience (Accurate, Non-accurate, Expectation, Determination)
Fact (Proven, Unproven, Accurate, Non-accurate)
Falsehood (Equity, Inequity, Projection, Speculation)
Fantasy (Trust, Test, Ending, Unending)
Fate (Knowledge, Thought, Order, Chaos)
Hope (Logic, Feeling, Control, Uncontrolled)
Instinct (Knowledge, Thought, Ability, Desire)
Interdiction (Ability, Desire, Equity, Inequity)
Interpretation (Order, Chaos, Equity, Inequity)
Investigation (Certainty, Potentiality, Proaction, Reaction)
Knowledge (Proven, Unproven, Process, Result)
Morality (Faith, Disbelief, Conscience, Temptation)
Need (Proaction, Reaction, Deduction, Induction)
Obligation (Logic, Feeling, Help, Hinder)
Openness (Consider, Reconsider, Faith, Disbelief)
Permission (Certainty, Potentiality, Acceptance, Non-acceptance)
Preconception (Control, Uncontrolled, Help, Hinder)
Preconditions (Acceptance, Non-acceptance, Evaluation, Re-evaluation)
Prediction (Actuality, Perception, Inertia, Change)
Prerequisites (Certainty, Potentiality, Probability, Possibility)
Rationalization (Consider, Reconsider, Support, Oppose)
Reappraisal (Deduction, Induction, Acceptance, Non-acceptance)
Repulsion (Probability, Possibility, Reduction, Production)
Responsibility (Control, Uncontrolled, Conscience, Temptation)
Security (Effect, Cause, Result, Process)
Self Interest (Pursuit, Avoidance, Control, Uncontrolled)
Sense of Self (Ability, Desire, Projection, Speculation)
Senses (Actuality, Perception, Aware, Self-aware)
Situation (Actuality, Perception, Order, Chaos)
Skill (Effect, Cause, Trust, Test)
State of Being (Knowledge, Thought, Inertia, Change)
Strategy (Proaction, Reaction, Inaction, Protection)
Suspicion (Order, Chaos, Inertia, Change)
Thought (Theory, Hunch, Ending, Unending)
Threat (Theory, Hunch, Expectation, Determination)
Truth (Knowledge, Thought, Actuality, Perception)
Value (Proven, Unproven, Effect, Cause)
Wisdom (Proven, Unproven, Theory, Hunch)
Work (Certainty, Potentiality, Deduction, Induction)
Worry (Accurate, Non-accurate, Result, Process)
Worth (Expectation, Determination, Ending, Unending)

[bobRaskoph]

I did what I thought would be more difficult first: the Plot Sequence Report. It looks like this right now:

The style is still in progress, so don’t worry about that. As it is, you enter your progress report and get an HTML-table. What you do with that table is up to you.
I didn’t include the synonyms/definitions, though it shouldn’t be too hard to add. I don’t think it’s necessary though.

[Rod]

@bobRaskoph, Wow! Looks like you’re making some great progress already. Amazing!

I can’t wait to see the final version. You’re fast!

Rod

[Rod]

@bobRaskoph

I didn’t include the synonyms/definitions, though it shouldn’t be too hard to add. I don’t think it’s necessary though.

Yeah, for the original generator, Bill Schindler advised to turn on the Vocabulary option for the reports, so that the definitions could be automatically extracted and placed in the appropriate positions. I figured the documents were long enough as it is, for posting on this forum, so I turned Vocabulary off. If you’d like versions with Vocab turned on, I can certainly create them and either post them here, or in a PM, or I can email them to you as plain text files.

Anyway, great work so far. I’m extremely impressed with your quick progress.

Rod

[bobRaskoph]

Here’s the rest of it:

I’m not really happy about the placement of the additional story points, but I have no idea where else I should place them.
I did not use the Story Engine Settings for this, since they order the throughlines depending on their placement in the theme browser (whatever is Situation/Universe comes first; that’s annoying for parsing). Instead, I used the “Story Points Output.”

Any further suggestions?

[Rod]

@bobRaskoph, I would suggest arranging things the way I have them in my chart, from the first post. It allows the user to easily traverse each throughline vertically and get the gist of all the important points. The additional story points can go where I have them, which I think is the optimal placement for them.

[Rod]

@bobRaskoph, additionally, it looks like something got shifted out of alignment, if you’re using my reports. The Main Character Throughline is Situation, yet yours shows it as the Subjective (Relationship) Story. Fixed Attitude is the IC throughline, yet your chart has it as the MC Throughline. The Subjective Story (relationship) should be Manipulation… so it seems something has become misaligned.

[bobRaskoph]

@Rod

@bobRaskoph, additionally, it looks like something got shifted out of alignment, if you’re using my reports. The Main Character Throughline is Situation, yet yours shows it as the Subjective (Relationship) Story. Fixed Attitude is the IC throughline, yet your chart has it as the MC Throughline. The Subjective Story (relationship) should be Manipulation… so it seems something has become misaligned.

Yeah, I found the error. It was because Story Points Output does the throughlines in this order: O,M,I,S and the Plot Sequence Report in this Order: O,S,M,I. I fixed it now.