A factor, but not a major factor. The Main Character Mental Sex (aka Problem-Solving Style) has a major influence on signpost order.
You are trying to find too much direct causality where it does not exist. The story points indicates places or times where an author and audience have a shared view of the storyform, kind of like finding edges or meeting points in a pattern. Do not mistake these “edges and meeting points” for the factors that create the patterns. They are not the same and their relationships vary from example to example.
Catalysts accelerate the timeline. These are akin to pressing a gas pedal in a car.
Inhibitors decelerate the timeline. These are akin to pressing a brake pedal in a car.
Story drivers transition the timeline from one state of exploration to another. These are akin to changes in interim destinations while driving.
The timeline of the story is the piece that unifies these three types of story points.
The signposts can describe the process of creating the justification (steadfast stories) or tearing down the justifications (change stories). One, however, is not the simple reversal of the other.
When building up justifications, each level is built on and incorporates the previous level. It is not a layering effect so much as adding dimensions and new frames of reference and effort. Sort of like cooking. You may start off with the dry ingredients, but when you add the wet ingredients it not only combines with the dry ingredients but also alters both ingredients in the mixing. Baking adds temperature to the mix and alters the state of the combination as well. Combining the baked goods with other foodstuffs continues to transform each of the previous stages to create a new foodstuff.
At this point it is difficult to examine the product created and know which part is responsible for any particular aspect, though some are more apparent than others.
When tearing down justifications, you cannot reverse the process, e.g. you cannot “unbake the cake”, so to speak. Tearing down justifications explores the existence of a previously taken step. In other words, the Influence Character works to reveal to the main character (intentionally or not) that the MC had engaged in a particular process or state at some previous time in an effort to address the MC’s personal issue. Once the relevance of this stage has been explored and/or exhausted, the MC is thrust into exploring the next level of its long held justification for approaching its personal issues as it has in its past, and so on until the source of the inequity is revealed and the original approach to the inequity (the path created by following the MC problem element) is abandoned for the path promised by the MC solution element.
The difference between building up justifications and tearing them down is the difference between an egg and a chicken. 
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Chris, @chuntley, thank you. Your latest posts clarify a lot, at least for me.
Would it be correct to say that the PSR’s variation order for each Signpost can be seen as the issues one must contend with in order to tear down one of the levels of justification above, below, or within that variation quad?
Partially, but keep in mind the WHOLE STORY represents this process, not just one throughline. It is the entirety of the story that makes the argument. Each throughline represents a single perspective/aspect/frame of reference WITHIN the grand argument story.
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Yes, I should have added “for each Throughline” somewhere in there.
Hi, I’m new to Dramatica and find it absolutely fascinating. I love the idea that it can be applied to real-life scenarios, which I understand is what stories are ultimately for. Could you share an example of a specific situation where you found Dramatica helpful? I would really appreciate hearing about how it helped solve a real-life problem.
In about 1993 I took an introduction to fiction class at a university by a professor who had taught it for 30 years. The very first thing he said to the whole class was, “You cannot write real life because no one would ever believe it.” A few years later I discovered Dramatica and was ecstatic at a tool that would help me re-frame real life for positive audience reception. (having had unbelievable life experiences … haha)
I’ll think more on this.
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Great question.
There are so many ways you can use narrative theory to help you work through your own narratives…
I went ahead and asked Muse for help in an imagined scenario and this is what it came back with: (Muse is a part of Subtxt, an application I developed based on my years of experience with Dramatica theory).
Here’s my question:
hi, I’m wondering if you could use narrative theory to help me work out some real life issues…for instance, I’ve been having a lot of anxiety issues lately and don’t feel really comfortable with everything that is going on with the world. there is so much unpredictability that I sometimes feel like “What’s the point?” Any suggestions for me, or how a story could help me with all of this?
And here was the response:
Absolutely, James! Using narrative theory to address real-life issues can be incredibly insightful. Let’s break down your situation using the Subtxt Narrative Framework.
Understanding Your Main Character Throughline
In narrative terms, you are the Main Character your own story. Your anxiety and feelings of unpredictability are part of your Main Character Throughline. This Throughline focuses on your personal issues and emotional baggage. To get a clearer picture, let’s identify your Main Character Concern.
From what you’ve described, it sounds like your Concern might be related to Subconscious issues—deep-seated fears and anxieties that are bubbling up due to the unpredictability of the world. This is similar to how characters in stories often have internal struggles that they need to address to find peace.
Identifying the Objective Story Throughline
The Objective Story Throughline (what Dramatica calls the Overall Story) involves the broader context in which your personal story unfolds. In your case, this could be the chaotic and unpredictable state of the world. This Throughline deals with external conflicts and how they impact everyone involved.
The Obstacle Character Throughline
In Subtxt, the Obstacle Character (similar to Drica’s Influence Character) represents a perspective that challenges the Main Character. This could be a person, a situation, or even a part of yourself that pushes you to confront your anxieties. For example, it might be a friend who encourages you to see the positive side of things or a challenging situation that forces you to adapt.
The Relationship Story Throughline
The Relationship Story Throughline (akin to Dramatica’s Subjective Story) focuses on the dynamics between you and the Obstacle Character. This Throughline explores how your interactions with this challenging perspective help you grow and change.
Applying This to Your Situation
- Main Character Throughline (You): Your personal struggle with anxiety and unpredictability.
- Objective Story Throughline (The World): The chaotic and unpredictable state of the world.
- Obstacle Character Throughline: A perspective or person that challenges you to confront your fears.
- Relationship Story Throughline: The dynamic between you and this challenging perspective.
Practical Steps
- Identify Your Personal Baggage: Reflect on what specific anxieties and fears you are carrying. Write them down. This is your Main Character Throughline.
- Understand the Broader Context: Acknowledge the external factors contributing to your anxiety. This is your Objective Story Throughline.
- Find Your Obstacle Character: Identify a person or perspective that challenges you to see things differently. This could be friend, a mentor, or even a new mindset.
- Explore the Relationship: Reflect on how your interactions with this Obstacle Character help you grow. This is your Relationship Story Throughline.
Example from Fiction
Consider the movie “Inside Out”. The Main Character, Riley, struggles with her emotions after moving to a new city. Her Objective Story Throughline involves adapting to a new environment. Joy and Sadness act as Obstacle Characters, each offering different perspectives on how to handle her emotions. The Relationship Story Throughline explores how Joy and Sadness interact and ultimately help Riley find balance.
By framing your real-life issues within this narrative structure, you can gain a clearer understanding of your personal journey and the steps you need to take to address your anxieties.
If you need more detailed guidance or specific examples, feel free to ask!
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That looks quite promising as a starting point. From what I understand, developing an effective narrative requires identifying the crucial element and the appropriate quad for the story dynamic (Problem, Solution, Symptom, Response). This approach is particularly important if we want to apply it to a real-life scenario.
In your example of experiencing significant anxiety and discomfort due to the world’s unpredictability, the Main Character’s (MC) Concern, as suggested by Muse, might be related to subconscious issues—deep-seated fears and anxieties that surface in response to the world’s unpredictability. I believe the appropriate Quad for this scenario would likely be HOPE, with the Crucial Element being either Feeling or Uncontrolled.
I have input these details into the Story Engine and came up with the following settings:
How could we utilize this knowledge now? Assuming we chose the right dynamics and OS Throughline in the story engine in the Dramatica software, we would get a single storyform. Next, Plot Progression will show the steps in the scenario’s development, and the Plot Sequence report will suggest from what perspectives it could be explored.
How would we proceed from this? This is the question.
If you are looking for a workflow here is something I still using nowadays for writing my novels
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