by Will Dunne
foreshadowing. Preparation for a future story revelation or development. In the case of a "plant," this preparation may be transparent so that its real purpose is not known until later. In the case of a "pointer," this preparation calls attention to itself in order to generate anticipation of what might happen next.
fourth wall. The imaginary wall that separates the audience from the events on stage. In some cases, such as plays that feature a narrator, characters "break the fourth wall" in order to address the audience directly
French scene. A unit of action demarcated by the entrance or exit of a principle character. Each time a new configuration of characters occurs, a new French scene begins. Ideally something important happens in each French scene.
given circumstances. The current situation in the world of the story, including any fact, event, state, or condition that will affect how a scene begins or unfolds. Each scene occurs within a unique set of given circumstances.
inciting event or incident. The phenomenon, large or small, positive or negative, that sets the dramatic journey into motion by upsetting the balance of the character's life and arousing the story goal or superobjective. The inciting event is often the first important event in the story.
interior monologue. Words spoken by a character that can be heard by the audience, but no one in the story. Interior monologues typically reflect what a character is thinking and feeling. Also known as soliloquy.
interior dramatization. Imagery, sound, or dramatic action that suggests or depicts what is going on in a character's mind, such as a memory, idea, or perception.
melodrama. A story dictated more by plot demands than by character motivations so that exaggerated conflicts and emotions can be presented to the audience for "dramatic effect."
monologue. A long speech in which a character speaks to the self, or to someone else who is present or not present, or to the world at large.
motivation. Why a character says or does something. Motivation is a basic element of dramatic action and reflects something at stake for the character.
objective. What a character wants. A basic element of dramatic action, an objective may be behavioral or physical and, depending on its size and importance, may drive a beat (beat action), scene (scenic objective), or whole story (story goal).
obstacle. Anything that makes a character's objective difficult to achieve. Obstacle is a basic element of dramatic action. Also referred to as conflict or problem.
physical life. The specific setting for a scene as well as the objects in it and the physical elements that comprise it.
physical objective. The desire or need to complete a physical task.
pivotal object. A thing that has special positive or negative meaning for the characters, and significantly affects their interaction in a scene. The pivotal object often embodies what the character most values or fears here and now.
plant. A speech, action, image, or object that will make a future story development understandable and credible to the audience by discreetly paving the way for it. Ideally, a plant's true purpose is not known until its payoff occurs later on.
pointer. A speech, action, image, or object that paves the way for a future story development by overtly suggesting that it might happen. Unlike a plant, a pointer draws attention to itself in order to make the audience anticipate an outcome.
point of attack. The precise moment when a story or scene begins.
point of view. The vantage point from which the story will be revealed to the audience. This vantage point may be unlimited or limited.
protagonist. A classical term for the main character of a dramatic story. The role of protagonist may be played by more than one character.
quest. What the main character is after in the story. Also known as the story goal or superobjective.
resolution. How things end up for the characters; the final outcome of the story. Also referred to as the denouement.
reversal. A turning-point experience, positive or negative, that sets the dramatic journey into a radically different, often opposite, direction. Each act of a dramatic story typically ends with a reversal.
rule of three. The storytelling principle that something which is said or done three times is funnier, more important, or more dramatic than something which is said or done any other number of times. This "rule" suggests that thrice provides the best emphasis for an important fact or action, since once is not enough to stress something, twice seems like a mistake, and four times feels repetitious.
scene. A unit of dramatic action that is driven by a character's need to accomplish something important and unfolds in one setting in real time. Most scenes add up to one main event that changes the world of the story in a good or bad way.
scenic objective. The character need that drives most of a scene. Once aroused, either prior to the scene or during it, the scenic objective does not change until it is achieved or reaches a point of failure.
speech. What a character says at one time. A speech may be as short as one word or as long as several pages, depending on the complexity and importance of the content. Also referred to as a line.
spine of the character. The root action from which all of the character's other actions flow.
step outline. A writing or revision tool that gives the writer an at-a-glance view of the story structure by listing the key events in the order in which they happen.
story. The series of events that occurs when a character pursues an important goal that is difficult to achieve.
story goal. The character desire or need that is aroused by the inciting event, drives most of the story, and does not reach its conclusionwhether successful or unsuccessful-until the story's conclusion. Also known as the quest or superobjective.
story structure. The selection and sequence of events used to depict a story. Classically referred to as plot.
strategy. How a character attempts to achieve an objective. Different strategies create the different beats of a scene. Also known as tactics.
subtext. Character thoughts and feelings that influence character behavior but are not stated in the dialogue. Subtext is that which remains "between the lines."
superobjective. See story goal.
suspense. A state in which the audience is in two places at the same time: the present (what is happening here and now in the story) and the future (what might happen later in the story as a result of what is happening now).
theme. A universal idea that the writer believes to be true and attempts to demonstrate through the characters and story. The theme is usually not stated in the dialogue, but is often reflected most clearly in the crisis, climax, and resolution of the story. Also known as controlling idea or premise.
throughline. The spine of the story: the key events and how they connect so that the dramatic journey maintains a forward movement from beginning to end and enables a transition to occur.
turning point. A dramatic event, large or small, positive or negative, that creates an observable change in the world of the story. A major turning point is sometimes referred to as a reversal.
voice. How a character expresses thoughts and feelings through language. This voice is a core component of character identity and a root function of dialogue.
Thank you to the dramatic writers with whom I have worked individually and in groups over the past twenty years and from whom I have learned so much. This guide would not exist without them. Thank you as well to the dramatic writers whose plays and screenplays are cited in this guide. Their work is an ongoing source of insight and inspiration as I develop exercises for the writers in my workshops. Thank you also to my own teachers and mentors, particularly: Lloyd Richards, Jean Shelton, Wendell Phillips, Stella Adler, Corinne Jacker, and Robert McKee.
Looking back to the early days of this guide, I wish to thank those who each in their own way helped put it on a path to publication, particularly: Susan M. Bielstein, Kim Pence, Alan Johnson, Christopher Rhodes, Joan Van- derbeck, Marion Bundy
, Ruth Kirschner, Ralda Lee, Nion McEvoy, and Jay Schaefer.
Most importantly, I thank the University of Chicago Press and the staff with whom I have worked on this project: my editor Paul Schellinger, who championed this guide, and my copy editor Carol Fisher Saller, who helped refine it. I also give special thanks to the theater experts who through the Press were generous enough to review my proposal and manuscript and offer invaluable suggestions and support: Arthur R. Borreca and Dennis J. Reardon.