Method and apparatus for identifying, predicting, and reporting object relationships

Abstract

A method and apparatus for identifying, predicting and reporting relationships. The present invention uses a quad structure to describe relationships between dramatic units. Story elements, characters and appreciations are mapped onto the quad structure to reveal and constrain relationships. A storyform whose structure is described by the quad structure configuration and choices is identified and provided to a user.

Claims

We claim:

1. An article of manufacture comprising:

a computer usable medium having computer readable program code embodied therein for identifying object relationships, the computer readable program code in said article of manufacture comprising:

computer readable program code configured to cause a computer to define a quad structure having a plurality of units, each unit having a value, each unit having a mathematical relationship to said plurality of units;

computer readable program code configured to cause a computer to map user choices of parameters onto said quad structure and associate said user choices with one or more of said units;

computer readable program code configured to cause a computer to identify relationships between said units based on said user choices;

computer readable program code configured to cause a computer to compare said identified relationships to stored relationships;

computer readable program code configured to cause a computer to generate and display a storyform based on matching of said identified relationships and said stored relationships.

2. The article of manufacture of claim 1 wherein said plurality of units comprise four units arranged in a grid pattern in a horizontal plane.

3. The article of manufacture of claim 2 further comprising computer readable program code configured to cause a first unit to occupy an upper left location of said grid pattern, a second unit to occupy an upper right location of said grid pattern, a third unit to occupy a lower left location of said grid pattern, and a fourth unit to occupy a lower right location of said grid pattern.

4. The article of manufacture of claim 3 further comprising computer readable program code configured to cause said computer to represent said upper left location by a variable W, to represent said upper right location by a variable X, to represent said lower left location by a variable Y, and to represent said lower right location by a variable Z.

5. The article of manufacture of claim 4 further comprising computer readable program code configured to cause said plurality of units of said quad structure to have a relationship expressed by W/Z=X*Y.

6. The article of manufacture of claim 5 wherein said relationship is a non-commutatable relationship.

7. The article of manufacture of claim 5 wherein W and Z are a dynamic pair, X and Y are a co-dynamic pair, W and X are a companion pair, Y and Z are a co-companion pair, W and Y are a dependent pair, and X and Z are a co-dependent pair.

8. The article of manufacture of claim 7 further comprising computer readable program code configured to cause said computer to select W from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

9. The article of manufacture of claim 7 further comprising computer readable program code configured to cause said computer to select Z from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

10. The article of manufacture of claim 7 further comprising computer readable program code configured to cause said computer to select X from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

11. The article of manufacture of claim 7 further comprising computer readable program code configured to cause said computer to select Y from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

12. The article of manufacture of claim 1 wherein said plurality of units comprise four units arranged in a vertical plane.

13. The article of manufacture of claim 12 further comprising computer readable program code configured to cause a first unit to occupy a highest location of said vertical plane, a second unit to occupy a next to highest location of said vertical plane, a third unit to occupy a next to lowest location of said vertical plane, and a fourth unit to occupy a lowest location of said vertical plane.

14. The article of manufacture of claim 13 further comprising computer readable program code configured to cause said computer to represent said highest location by a variable W, to represent said next to highest location by a variable X, to represent said next to lowest location by a variable Z, and to represent said lowest location by a variable Y.

15. The article of manufacture of claim 14 further comprising computer readable program code configured to cause said plurality of units of said quad structure to have a relationship expressed by W/Z=X*Y.

16. The article of manufacture of claim 15 wherein said relationship is a non-commutatable relationship.

17. The article of manufacture of claim 15 wherein W and Z are a dynamic pair, X and Y are a co-dynamic pair, W and X are a companion pair, Y and Z are a co-companion pair, W and Y are a dependent pair, and X and Z are a co-dependent pair.

18. The article of manufacture of claim 17 further comprising computer readable program code configured to cause a computer to select W from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

19. The article of manufacture of claim 17 further comprising computer readable program code configured to cause a computer to select Z from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

20. The article of manufacture of claim 17 further comprising computer readable program code configured to cause a computer to select X from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

21. The article of manufacture of claim 17 further comprising computer readable program code configured to cause a computer to select Y from the group consisting of Knowledge (K), Thought (T), Ability (A), and Desire (D).

22. An article of manufacture comprising:

a computer usable medium having computer readable program code embodied therein for generating storyforms corresponding to user inputs, the computer readable program code in said article of manufacture comprising:

computer readable program code configured to cause a computer to define a plurality of levels, a plurality of quad structures, each of said plurality of quad structures having a plurality of units with predetermined relationships, each of said quad structures belonging to one of said plurality of levels, the computer readable program code in said article of manufacture further comprising:

computer readable program code configured to cause said computer to map said user inputs onto said plurality of quad structures and associating said user inputs with one or more of said plurality of units;

computer readable program code configured to cause said computer to identify a plurality of relationships between said user inputs based on said predetermined relationships; and

computer readable program code configured to cause said computer to generate and display a storyform corresponding to said plurality of relationships.

23. The article of manufacture of claim 22 wherein said plurality of levels comprise four levels, a highest level being a class level, a next to highest level being a type level, a next to lowest level being a variation level, and a lowest level being an element level.

24. The article of manufacture of claim 23 wherein said class level and said variation level are a dynamic pair, said type level and said element level are a co-dynamic pair, said class level and type level are a companion pair, said variation level and element level are a co-companion pair, said class level and element level are a dependent pair, and said type level and variation level are a co-dependent pair.

25. The article of manufacture of claim 24 wherein each of said plurality of quad structures comprises four units, a first unit occupying an upper left location, a second unit occupying an upper right location, a third unit occupying lower left location, and a fourth unit occupying a lower right location.

26. The article of manufacture of claim 25 wherein said first and fourth units are a dynamic pair, said second and third units are a co-dynamic pair, said first and second units are a companion pair, said third and fourth units are a co-companion pair, said first and third units are a dependent pair, and said second and fourth units are a co-dependent pair.

27. The article of manufacture of claim 25 wherein said class level comprises a quad structure, said quad structure having universe, physics, psychology, and mind units as respectively first, second, third, and fourth units.

28. The article of manufacture of claim 25 wherein said type level comprises a quad of quads structure, said quad of quads structure comprising four quad structures, each quad structure corresponding to a respective unit of said class level.

29. The article of manufacture of claim 25 wherein said variation level comprises a chess set structure, said chess set structure comprising four quad of quads structures, each quad of quads structure corresponding to a respective quad structure of said type level.

30. The article of manufacture of claim 25 wherein said element level comprises a superset structure, said superset structure comprising four chess set structures, each chess set corresponding to a respective quad of quads structure of said variation level.

31. The article of manufacture of claim 27 wherein said universe unit describes an external state.

32. The article of manufacture of claim 27 wherein said physics unit describes an external process.

33. The article of manufacture of claim 27 wherein said mind unit describes an internal state.

34. The article of manufacture of claim 27 wherein said psychology unit describes an internal process.

35. An article of manufacture comprising:

a computer usable medium having computer readable program code embodied therein for creating a storyform, the computer readable program code in said article of manufacture comprising:

computer readable program code configured to cause a computer to input a plurality of answers in response to a plurality of questions;

computer readable program code configured to cause said computer to identify a first plurality of appreciations corresponding to said plurality of answers;

computer readable program code configured to cause said computer to map said first plurality of appreciations onto a predetermined structure to identify a first plurality of units;

computer readable program code configured to cause said computer to identify a second plurality of units from predetermined relationships between said first plurality of units;

computer readable program code configured to cause said computer to generate a second plurality of appreciations corresponding to said second plurality of units;

computer readable program code configured to cause said computer to determine and display a storyform represented by said first and second plurality of appreciations.

36. The article of manufacture of claim 35 wherein said plurality of questions comprise questions relating to character dynamics, plot dynamics, and thematic dynamics.

37. The article of manufacture of claim 36 wherein said character dynamics questions relate to main character resolve, main character direction, main character approach, and main character mental sex.

38. The article of manufacture of claim 37 wherein an answer to said character dynamics question relating to main character resolve determines what the main character decides.

39. The article of manufacture of claim 37 wherein an answer to said character dynamics question relating to main character direction determines how the main character grows.

40. The article of manufacture of claim 37 wherein an answer to said character dynamics question relating to main character approach determines an internal or external methodology of efforts of the main character.

41. The article of manufacture of claim 37 wherein an answer to said character dynamics question relating to main character mental sex determines whether the main character has a male or female mental sex.

42. The article of manufacture of claim 36 wherein said plot dynamics questions relate to plot work, plot limit, plot outcome, and plot judgment.

43. The article of manufacture of claim 42 wherein an answer to said plot dynamics question relating to plot work determines whether actions in the plot precipitate decisions or whether decisions in the plot precipitate actions.

44. The article of manufacture of claim 42 wherein an answer to said plot dynamics question relating to plot limit determines whether the plot is limited in time or whether the plot is limited in options.

45. The article of manufacture of claim 42 wherein an answer to said plot dynamics question relating to plot outcome determines whether an outcome of the plot is success or failure.

46. The article of manufacture of claim 42 wherein an answer to said plot dynamics question relating to plot judgment determines whether a judgment of the main character is good or bad.

47. The article of manufacture of claim 36 wherein said thematic dynamics questions relate to questions of thematic class, thematic concern, thematic range, and thematic problem.

48. The article of manufacture of claim 47 wherein an answer to said thematic dynamics question relating to thematic class determines whether said storyform is calibrated to a universe, physics, mind, or psychology class.

49. The article of manufacture of claim 47 wherein an answer to said thematic dynamics question relating to thematic concern determines an effect of a problem in said storyform.

50. The article of manufacture of claim 49 wherein said thematic concern is selected from a unit in a type level.

51. The article of manufacture of claim 47 wherein an answer to said thematic dynamics question relating to thematic range determines the thematic focus of said storyform.

52. The article of manufacture of claim 51 wherein said thematic range is selected from a unit in a variation level.

53. The article of manufacture of claim 47 wherein an answer to said thematic dynamics question relating to thematic problem determines a source of a problem in said storyform.

54. The article of manufacture of claim 53 wherein said thematic problem is selected from a unit in an element level.

55. The article of manufacture of claim 39 wherein said first and second plurality of appreciations comprise character dynamics appreciations, plot dynamics appreciations, objective story appreciations, additional objective story appreciations, subjective story appreciations, main character appreciations, and obstacle character appreciations.

56. The article of manufacture of claim 55 wherein said character dynamics appreciations relate to main character resolve, main character direction, main character approach, and main character mental sex.

57. The article of manufacture of claim 55 wherein said plot dynamics appreciations relate to plot work, plot limit, plot outcome, and plot judgment.

58. The article of manufacture of claim 55 wherein said objective story appreciations relate to objective story domain, objective story concern, objective story range, objective story problem, objective story solution, objective story focus, objective story direction, objective story catalyst, objective story inhibitor, and objective story stipulation.

59. The article of manufacture of claim 58 wherein said objective story domain is selected from the group consisting of universe class, physics class, mind class, and psychology class.

60. The article of manufacture of claim 59 wherein said universe class describes a state of an environment in said storyform.

61. The article of manufacture of claim 59 wherein said physics class describes an activity of an environment in said storyform.

62. The article of manufacture of claim 59 wherein said mind class describes a state of mind in said storyform.

63. The article of manufacture of claim 59 wherein said psychology class describes a process of mind in said storyform.

64. The article of manufacture of claim 58 wherein said objective story concern determines an effect of a problem in said storyform.

65. The article of manufacture of claim 64 wherein said objective story concern corresponds to a unit in a type level.

66. The article of manufacture of claim 58 wherein said objective story range determines a thematic focus of said storyform.

67. The article of manufacture of claim 66 wherein said objective story range corresponds to a unit in a variation level.

68. The article of manufacture of claim 58 wherein said objective story problem determines a source of a problem in said storyform.

69. The article of manufacture of claim 68 wherein said objective story problem corresponds to a unit in an element level.

70. The article of manufacture of claim 58 wherein said objective story solution determines a solution to a problem of said storyform.

71. The article of manufacture of claim 70 wherein said objective story solution corresponds to a unit in an element level.

72. The article of manufacture of claim 58 wherein said objective story focus determines where attention is focused in said storyform.

73. The article of manufacture of claim 72 wherein said objective story focus corresponds to a unit in an element level.

74. The article of manufacture of claim 58 wherein said objective story direction determines where efforts of said storyform are directed.

75. The article of manufacture of claim 72 wherein said objective story direction corresponds to a unit in an element level.

76. The article of manufacture of claim 58 wherein said objective story catalyst determines an item which helps move said storyform forward.

77. The article of manufacture of claim 76 wherein said objective story catalyst corresponds to a unit in a variation level.

78. The article of manufacture of claim 58 wherein said objective story inhibitor determines an item which impedes a progress of said storyform.

79. The article of manufacture of claim 78 wherein said objective story inhibitor corresponds to a unit in a variation level.

80. The article of manufacture of claim 58 wherein said objective story stipulation determines a standard by which a progress of said storyform is measured.

81. The article of manufacture of claim 80 wherein said objective story stipulation corresponds to a unit in a type level.

82. The article of manufacture of claim 35 wherein said first and second plurality of appreciations representing said storyform comprise forty appreciations.

83. The article of manufacture of claim 35 wherein said program code configured to cause a computer to determine and display a storyform comprises computer readable program code configured to cause said computer to generate and display a storyform satisfying constraints of said first and second plurality of appreciations.

84. The article of manufacture of claim 35 wherein said program code configured to cause a computer to determine a storyform comprises computer readable program code configured to cause a computer to look up in a table a storyform satisfying constraints of said first and second plurality of appreciations.

85. The article of manufacture of claim 84 wherein said program code configured to cause said computer to determine said storyform comprises:

computer readable program code configured to cause said computer to supply skew bias information by responding to skew bias questions;

computer readable program code configured to cause said computer to identify valid menu items corresponding to responses to said skew bias questions;

computer readable program code configured to cause said computer to look up in said table a storyform satisfying constraints of said responses to skew bias questions and responses to said valid menu items.

86. The article of manufacture of claim 84 wherein said table comprises 32,768 storyforms.

87. The article of manufacture of claim 86 wherein each of said 32,768 storyforms is described by forty appreciations.

88. An article of manufacture comprising:

a computer usable medium having computer readable program code embodied therein for identifying storyforms based on user responses to a plurality of questions, the computer readable program code in said article of manufacture comprising:

computer readable program code configured to cause a computer to receive a plurality of user responses corresponding to said plurality of questions;

computer readable program code configured to cause said computer to address a first plurality of units based on said plurality of user responses;

computer readable program code configured to cause said computer to address a second plurality of units, each of said second plurality of units being a partner of a respective one of said first plurality of units;

computer readable program code configured to cause said computer to identify a storyform satisfying constraints imposed by said first and second plurality of units.

89. The article of manufacture of claim 88 wherein said partner is selected from the group consisting of dynamic partner, companion partner, and dependent partner.

90. The article of manufacture of claim 89 wherein said dynamic partner is selected from the group consisting of independent dynamic partner, inverse dynamic partner, correspondent dynamic partner, and complementary dynamic partner.

91. The article of manufacture of claim 90 wherein said independent dynamic partner of said respective one of said first plurality of units is a diagonal unit in a quad containing said respective one of said first plurality of units.

92. The article of manufacture of claim 90 wherein said inverse dynamic partner of said respective one of said first plurality of units is a unit having a same position in a quad in dynamic relation to a quad containing said respective one of said first plurality of units.

93. The article of manufacture of claim 90 wherein said correspondent dynamic partner of said respective one of said first plurality of units is a unit having a same position in a set in dynamic relation to a set containing said respective one of said first plurality of units.

94. The article of manufacture of claim 90 wherein said complementary dynamic partner of said respective one of said first plurality of units is a unit having a same position in a class in dynamic relation to a class containing said respective one of said first plurality of units.

95. The article of manufacture of claim 89 wherein said companion partner is selected from the group consisting of independent companion partner, inverse companion partner, correspondent companion partner, and complementary companion partner.

96. The article of manufacture of claim 95 wherein said independent companion partner of said respective one of said first plurality of units is a horizontal unit in a quad containing said respective one of said first plurality of units.

97. The article of manufacture of claim 95 wherein said inverse companion partner of said respective one of said first plurality of units is a unit having a same position in a quad in companion relation to a quad containing said respective one of said first plurality of units.

98. The article of manufacture of claim 95 wherein said correspondent companion partner of said respective one of said first plurality of units is a unit having a same position in a set in companion relation to a set containing said respective one of said first plurality of units.

99. The article of manufacture of claim 95 wherein said complementary companion partner of said respective one of said first plurality of units is a unit having a same position in a class in companion relation to a class containing said respective one of said first plurality of units.

100. The article of manufacture of claim 89 wherein said dependent partner is selected from the group consisting of independent dependent partner, inverse dependent partner, correspondent dependent partner, and complementary dependent partner.

101. The article of manufacture of claim 100 wherein said independent dependent partner of said respective one of said first plurality of units is a vertical unit in a quad containing said respective one of said first plurality of units.

102. The article of manufacture of claim 100 wherein said inverse dependent partner of said respective one of said first plurality of units is a unit having a same position in a quad in dependent relation to a quad containing said respective one of said first plurality of units.

103. The article of manufacture of claim 100 wherein said correspondent dependent partner of said respective one of said first plurality of units is a unit having a same position in a set in dependent relation to a set containing said respective one of said first plurality of units.

104. The article of manufacture of claim 100 wherein said complementary dependent partner of said respective one of said first plurality of units is a unit having a same position in a class in dependent relation to a class containing said respective one of said first plurality of units.

105. The article of manufacture of claim 88 wherein said program code configured to cause said computer to address a second plurality of units comprises:

computer readable program code configured to cause said computer to determine an address of a respective one of said first plurality of units based on said plurality of user responses;

computer readable program code configured to cause said computer to calculate an address of a respective one of said second plurality of units from said address of a respective one of said first plurality of units.

106. The article of manufacture of claim 105 wherein said address of a respective one of said first plurality of units is a five digit address.

107. The article of manufacture of claim 106 wherein said program code configured to cause said computer to calculate comprises computer readable program code configured to cause said computer to change a value of one of said five digits.

108. The article of manufacture of claim 107 wherein said one of said five digits is identified by computer readable program code configured to cause said computer to subtract dynamic resolution and itemsize variables from a level variable.

109. The article of manufacture of claim 108 wherein said level variable is a level to which said five digit address belongs.

110. The article of manufacture of claim 109 wherein said level is selected from the group consisting of class level, type level, variation level, and element level.

111. The article of manufacture of claim 108 wherein a value of said dynamic resolution variable is determined by a value of said partner.

112. The article of manufacture of claim 111 wherein said value of said partner is equal to one for an independent partner, equal to two for an inverse partner, and equal to three for a correspondent partner.

113. The article of manufacture of claim 108 wherein a value of said itemsize variable is equal to a last digit of said five digit address.

114. The article of manufacture of claim 107 wherein said program code configured to cause said computer to change said value of said one of five digits comprises computer readable program code configured to cause said computer to identify said partner as a dynamic partner, a companion partner, or a dependent partner.

115. The article of manufacture of claim 114 wherein for said dynamic partner said value of said one of five digits is changed from a one to a four, from a two to a three, from a three to a two, and from four to a one.

116. The article of manufacture of claim 114 wherein for said companion partner said value of said one of five digits is changed from a one to a two, from a two to a one, from a three to a four, and from four to a three.

117. The article of manufacture of claim 114 wherein for said dependent partner said value of said one of five digits is changed from a one to a three, from a two to a four, from a three to a one, and from four to a two.

118. An article of manufacture comprising:

a computer usable medium having computer readable program code embodied therein for generating storyforms based on user responses to a plurality of questions, the computer readable program code in said article of manufacture comprising:

computer readable program code configured to cause a computer to receive a plurality of user responses corresponding to said plurality of questions;

computer readable program code configured to cause said computer to address a first plurality of appreciations based on said plurality of user responses;

computer readable program code configured to cause said computer to address a second plurality of appreciations, each of said second plurality of appreciations being a partner of a respective one of said first plurality of appreciations;

computer readable program code configured to cause said computer to generate and display a storyform satisfying constraints imposed by said first and second plurality of appreciations.

119. The article of manufacture of claim 118 wherein said partner is selected from the group consisting of dynamic partner, companion partner, and dependent partner.

120. The article of manufacture of claim 119 wherein said dynamic partner is selected from the group consisting of independent dynamic partner, inverse dynamic partner, correspondent dynamic partner, and complementary dynamic partner.

121. The article of manufacture of claim 120 wherein said independent dynamic partner of said respective one of said first plurality of appreciations is an appreciation having an address of a diagonal unit in a quad containing an address of said respective one of said first plurality of appreciations.

122. The article of manufacture of claim 120 wherein said inverse dynamic partner of said respective one of said first plurality of appreciations is an appreciation having a same address in a quad in dynamic relation to a quad containing an address of said respective one of said first plurality of appreciations.

123. The article of manufacture of claim 120 wherein said correspondent dynamic partner of said respective one of said first plurality of appreciations is an appreciation having a same address in a set in dynamic relation to a set containing an address of said respective one of said first plurality of appreciations.

124. The article of manufacture of claim 120 wherein said complementary dynamic partner of said respective one of said first plurality of appreciations is an appreciation having a same address in a class in dynamic relation to a class containing an address of said respective one of said first plurality of appreciations.

125. The article of manufacture of claim 124 wherein an address of each of said second plurality of appreciations is a dynamic partner of an address of a respective one of said first plurality of appreciations.

126. The article of manufacture of claim 125 wherein each of said second plurality of appreciations is a subjective story domain appreciation and each of said first plurality of appreciations is an objective story domain appreciation.

127. The article of manufacture of claim 125 wherein each of said second plurality of appreciations is an obstacle character domain appreciation and each of said first plurality of appreciations is a main character domain appreciation.

128. The article of manufacture of claim 118 wherein said second plurality of appreciations are subjective story domain appreciations and said first plurality of appreciations are objective story domain appreciations.

129. An article of manufacture comprising:

a computer usable medium having computer readable program code embodied therein for generating storyforms based on user responses to a plurality of questions, the computer readable program code in said article of manufacture comprising:

computer readable program code configured to cause a computer to receive a plurality of user responses corresponding to said plurality of questions;

computer readable program code configured to cause said computer to identify a first plurality of appreciations based on said plurality of user responses;

computer readable program code configured to cause said computer to identify a second plurality of appreciations based on said first plurality of appreciations;

computer readable program code configured to cause said computer to generate and display a storyform based on said first and second plurality of appreciations.

130. The article of manufacture of claim 129 wherein said first and second plurality of appreciations are arranged in a plurality of quad structures, wherein each of said plurality of quad structures comprises an upper left unit, an upper right unit, a lower left unit, and a lower right unit.

131. The article of manufacture of claim 130 wherein said upper left and lower right units are a positive dynamic pair, said upper right and lower left units are a negative dynamic pair, said upper left and upper right units are a positive companion pair, said lower left and lower right units are a negative companion pair, said upper left and lower left units are a positive dependent pair, and said upper right and lower right units are a negative dependent pair.

132. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, good, stop, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive companion of a pair in said same quad.

133. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, good, stop, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative companion of a pair in said same quad.

134. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, good, start, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative companion of a pair in said same quad.

135. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, good, start, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive companion of a pair in said same quad.

136. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, bad, stop, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative companion of a pair in said same quad.

137. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, bad, stop, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive companion of a pair in said same quad.

138. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, bad, start, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive companion of a pair in said same quad.

139. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are male, bad, start, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative companion of a pair in said same quad.

140. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, success, stop, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive dependent in a pair in said same quad.

141. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, success, stop, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative dependent in a pair in said same quad.

142. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, success, start, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative dependent in a pair in said same quad.

143. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, success, start, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive dependent in a pair in said same quad.

144. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, failure, stop, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative dependent in a pair in said same quad.

145. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, failure, stop, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive dependent in a pair in said same quad.

146. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, failure, start, and do-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a positive dependent in a pair in said same quad.

147. The article of manufacture of claim 131 wherein an objective story catalyst appreciation and an objective story range appreciation are variations in a same quad and wherein said first plurality of appreciations are female, failure, start, and be-er appreciations, said first plurality of appreciations causing said objective story catalyst to be a negative dependent in a pair in said same quad.

148. The article of manufacture of claim 131 wherein a main character unique ability appreciation and a main character range appreciation are variations in a same quad and wherein a first relationship between said main character unique ability appreciation and said main character range appreciation is the same as a second relationship between an objective story catalyst appreciation and an objective story range appreciation.

149. The article of manufacture of claim 131 wherein an obstacle character unique ability appreciation and an obstacle character range appreciation are variations in a same quad and wherein a first relationship between said obstacle character unique ability appreciation and said obstacle character range appreciation is the same as a second relationship between an objective story catalyst appreciation and an objective story range appreciation.

150. The article of manufacture of claim 131 wherein a subjective story catalyst appreciation and a subjective story range appreciation are variations in a same quad and wherein a first relationship between said subjective story catalyst appreciation and said subjective story range appreciation is the same as a second relationship between an objective story catalyst appreciation and an objective story range appreciation.

151. The article of manufacture of claim 131 wherein a subjective story range appreciation in a subjective story domain class is a correspondent variation of an objective story range appreciation in an objective story domain class.

152. The article of manufacture of claim 131 wherein an obstacle character range appreciation of an obstacle character domain class is a correspondent variation of a main character range appreciation in a main character domain class.

153. The article of manufacture of claim 131 wherein an objective story domain class and a subjective story domain class are a first dynamic pair, and a main character domain class and an obstacle character domain class are a second dynamic pair, and wherein identifying a start appreciation as one of said first plurality of appreciations causes said main character domain class and said objective story domain class to be a dependent pair.

154. The article of manufacture of claim 131 wherein an objective story domain class and a subjective story domain class are a first dynamic pair, and a main character domain class and an obstacle character domain class are a second dynamic pair, and wherein identifying a stop appreciation as one of said first plurality of appreciations causes said main character domain class and said objective story domain class to be a companion pair.

155. The article of manufacture of claim 131 wherein identifying a do-er appreciation as one of said first plurality of appreciations causes said main character domain to be assigned to a class selected from the group consisting of a universe class and a physics class.

156. The article of manufacture of claim 131 wherein identifying a be-er appreciation as one of said first plurality of appreciations causes said main character domain to be assigned to a class selected from the group consisting of a mind class and a psychology class.

157. The article of manufacture of claim 131 wherein an objective story concern in an objective story class, a subjective story concern in a subjective story class, a main character concern in a main character class, and an obstacle character concern in an obstacle character class are correspondent types.

158. The article of manufacture of claim 157 wherein a story goal occupies a same position as said objective story concern.

159. The article of manufacture of claim 157 wherein a story consequence occupies a same position as said subjective story concern.

160. The article of manufacture of claim 157 wherein a story dividend occupies a same position as said main character concern.

161. The article of manufacture of claim 157 wherein a story cost occupies a same position as said obstacle character concern.

162. The article of manufacture of claim 157 wherein a story goal and a story requirement are a dynamic pair.

163. The article of manufacture of claim 157 wherein a story consequence and a story prerequisite are a dynamic pair.

164. The article of manufacture of claim 157 wherein a story dividend and a story forewarning are a dynamic pair.

165. The article of manufacture of claim 157 wherein a story cost and a story precondition are a dynamic pair.

166. The article of manufacture of claim 131 wherein an objective story range is a variation in an objective story class, said objective story range being in a quad of variations associated with an objective story concern.

167. The article of manufacture of claim 131 wherein a subjective story range is a variation in a subjective story class.

168. The article of manufacture of claim 131 wherein a main character range is a variation in a main character class, said main character range being in a quad of variations associated with a main character concern.

169. The article of manufacture of claim 131 wherein an obstacle character range is a variation in an obstacle character class.

170. The article of manufacture of claim 131 wherein an objective story problem is an element in an objective story class, said objective story problem being in a quad of elements associated with an objective story range.

171. The article of manufacture of claim 131 wherein a subjective story problem is an element in a subjective story class.

172. The article of manufacture of claim 131 wherein a main character problem is an element in a main character class, said main character problem being in a quad of elements associated with a main character range.

173. The article of manufacture of claim 131 wherein an obstacle character problem is an element in an obstacle character class.

174. The article of manufacture of claim 131 wherein an objective story problem and an objective story solution are a dynamic pair.

175. The article of manufacture of claim 131 wherein a subjective story problem and a subjective story solution are a dynamic pair.

176. The article of manufacture of claim 131 wherein a main character problem and a main character solution are a dynamic pair.

177. The article of manufacture of claim 131 wherein an obstacle character problem and an obstacle character solution are a dynamic pair.

178. The article of manufacture of claim 131 wherein a change appreciation is one of said first pluralities of appreciations and wherein said change appreciation causes a main character problem to have a same semantic value as an objective story problem.

179. The article of manufacture of claim 131 wherein a change appreciation is one of said first pluralities of appreciations and wherein said change appreciation causes an obstacle character focus to have a same semantic value as an objective story focus.

180. The article of manufacture of claim 131 wherein a steadfast appreciation is one of said first pluralities of appreciations and wherein said steadfast appreciation causes a main character focus to have a same semantic value as an objective story focus.

181. The article of manufacture of claim 131 wherein a steadfast appreciation is one of said first pluralities of appreciations and wherein said steadfast appreciation causes an obstacle character problem to have a same semantic value as an objective story problem.

182. The article of manufacture of claim 131 wherein a start appreciation is one of said first pluralities of appreciations and wherein said start appreciation causes a problem element in a domain and a focus element in said domain to be a dependent pair.

183. The article of manufacture of claim 131 wherein a stop appreciation is one of said first pluralities of appreciations and wherein said stop appreciation causes a problem element in a domain and a focus element in said domain to be a companion pair.

Description

BACKGROUND OF THE INVENTION

1. Field of the Invention

This invention relates to a method of identifying, predictng and reporting relationships.

2. Background Art

Mathematical models are used to represent complex systems that involve relationships of multiple elements. Examples of such mathematical models include models for economic systems, weather systems, stock market analysis, traffic patterns, artificial intelligence, expert systems, population growth, etc. These systems generally involve the processing of data associated with elements of the model using algorithms believed to represent behaviour of the elements with respect to the model. Such systems have not proven useful when attempts have been made to apply them to systems that do not lend themselves to quantifiable elements.

An example of such a system is the structure of stories. Ever since stories were first told, theorists have searched for patterns that would explain dramatic function and assist authors in creating sound structures. A number of prior art theories of structural analysis exist. These theories include deconstruction, semiotics, reception theory, etc. These prior art theories have the disadvantage of focussing on linear causal relationships in attempting to analyze stories.

These prior art systems ignore the fact that once a story has been told, it is no longer appreciated simply as a progression. Rather, a story is constructed and built up by its separate parts. By the time the story is complete, a construction has been created that is greater than the sum of its parts. The progression of a story, though linear in nature, ultimately constructs a greater meaning that is appreciated as a whole.

To perceive the essence of the "big picture", one must separate Storyform from Storytelling. Storyform is the unique arrangement of structure and dynamics that creates the dramatics of each story. Storytelling is the way that arrangement is illustrated. As an example, we might imagine an author wishing to communicate the abandonment of morality in favor of self-interest. To illustrate this concept the author might describe someone taking candy from a baby or drinking the last water in a lost desert patrol. The essential concept of morality vs. self-interest is part of the storyform. Either of these scenarios specifically used to make the point would be the storytelling.

Previous attempts to discover the inner workings of story have often incorporated storytelling as part of the theory. Storytelling is an expression of an arragangemt of story sturcture and dynamics that creates the dynamics of the story. When storytelling is combined with the structure of the story, the nature of the problem becomes too nonspecific and the number of possible solutions becomes infinite. These combinations create the enormous variety seen in stories, but also make the task of discovering the underlying patterns very difficult.

SUMMARY OF THE INVENTION

The present invention provides a model of story that is based on a "storyform". A storyform is the unique arrangement of structure and dynamics that creates the dramatics of a story. Storytelling is the way that arrangement (the storyform) is illustrated. As an example, consider the storyform consisting of the notion of the abandonment of morality in favor of self-interest. Storytelling applied to this storyform may result in a story descrbing (1) taking candy from a baby or (2) drinking the last water in a lost desert patrol. The storyform is morality vs. self-interest.

The storyform can be represented symbolically as a cubic construct referred to as a "quad structure". The model's components are finite in number and movable according to dynamic parameters. The structure consists of Dramatic Units that represent the processes of the story as objects. This has the effect of quantifying the interactions of a story into functions. Each dramatic unit is a function. To produce a complete storyform, each of these functions must act upon the audience in the proper place and time. It is the relationship between these Dramatic Units that varies from story to story, while the Dramatic Units still maintain their identity as a cube. Changing the position of the Dramatic Units shuffles their position in the fourth dimensional time/space of the model so that the order of events is intimately connected to the nature of the message being sent by the author. For example, Doing something so one can Obtain something creates different dramatic potentials than Obtaining something so one can Do something.

There are four vertical levels in the structural model representing four dimensions that group "families" of similar Dramatic Units. The levels tend to differentiate Character, Theme, Plot, and Perspective (sometimes referred tos as Genre). This does not mean, for example, that Character is confined to a specific level but rather that the audience's appreciation of dramatic functions perceived as character traits and relationships tends to focus at a particular level.

Each level is constructed of Quads, which are square frameworks containing four Dramatic Units. The quad form is a physical representation of the an underlying mathematical relationship of the model of the invention. The math of this equation has been translated into a quad pattern or matrix. Each position in the matrix represents a variable in the equation. In a sense, the Dramatic Units can be seen as dramatic functions that are treated as objects rather than processes so that they may be easily manipulated by an author. Similarly, the quad form represents an equation seen as a matrix.

Dramatic Functions are concepts that impart understanding to an audience. The relationship of the dramatic functions in the quad structure represent one of a number of possible storyforms.

In a storyform's neutral position, all dramatic functions are balanced by their position in the matrix. As a result, like functions are grouped together so that quads describe families of Dramatic Units. Each of the families is such that, although each Dramatic Unit in a family is unique, there are certain traits that describe the family as a whole.

The dynamics are represented in another matrix of choices containing a number of mutually exclusive dramatic intents. An example is whether a character should ultimately decide they have been wrong in their story-long approach and must change or should hold on to their resolve and remain steadfast. Additional dynamic choices determine whether the decision to change or remain steadfast leads to the character's ultimate success or failure in their endeavor, whether that is truly good or bad in the context of the story.

There are 256 Dramatic Units in the storyform in the preferred embodiment. Each is a different function having a unique meaning to and effect upon an audience. Once every Dramatic Unit is placed in one of the four positions in each of the quads that represent variables in the storyform's equation, values have been assigned to the entire fractal nature of the model creating a unique storyform. When an author makes dynamic choices for her or his story it rearranges the position of the Dramatic Units within affected quads. Quads are also rearranged within each fractal dimension. We call this process storyforming.

The meaning of a story derives not just from the dramatic potentials that exist, but the unique way in which they interact. As an audience interprets the progression of a story over time, each Dramatic Unit comes into conjunction with many others, creating dramatic tension that rises and falls over the course of the story. Sometimes dramatic potentials combine to create a greater overall potential. Other times they might cancel out, eliminating potential entirely.

The present invention provides a unique addressing scheme for representing units in locations of the quad structure. The addressing scheme is then utilized to generate relevent partners of a unit of interest, pursuant to desired relationships. As elements are selected in the quad structure and associated with story and character elements, other relationships become constrained by existing relationships. These constraints arise out of the nature of the quad structure. A benefit of these constraints is a predictive nature of the present invention. Given elements and relationships, other elements and other relationships fall into place automatically.

The possible relationships that comprise a storyform are maintained in a storyform table, or can be generated during operation. As elements and relationships are determined, the number of possible storyforms that satisfy the conditions is reduced, eventually leading to a single storyform that represents the choices made.

The present invention uses a quad structure for mapping relationships such that each quad on the structure has a consistent internal relationship, and each quad, or set of sixteen, or set of sixty-four, as well as each level, has the same relationship with neighbor quads, sets of sixteen, sets of sixty-four, and neighbor levels. A unique addressing scheme provides a method of indentifying multiple resolutions of objects, from unit level to chess sets of sixty-four units, with the same form of address. An algorithm for identifying partners of interest operates by changing only a single place of the address.

The present invention defines relationships between and among entries in the quad structure. When data is mapped to certain locations, the nature of the data and the destination address result in the identification of certain of those predefined relationships. In addition, other relationships are predicted based on constraints that arise from existing relationships. In the preferred embodiment, all possible relationships of the quad structure can be determined with as little as twelve pieces of information.

In the preferred embodiment of the invention, the mapping of data to the quad structure and the resulting relationships define storyforms that represent an outline of a story and the relationships between characters, thematics, plot, and dynamics. The invention permits a user to identify a storyform by mapping data to the quad structure.

BRIEF DESCRIPTION OF THE DRAWINGS

FIG. 1 illustrates a quad pattern.

FIGS. 2A-2H illustrate a TKAD quad pattern in eight orientations.

FIG. 3 illustrates the vertical relationship of the planes of the quad structure of the present invention.

FIG. 4 is a perspective view of the quad structure of the present invention.

FIG. 5 illustrates the values at each digit location in the addressing scheme of the present invention.

FIG. 6 illustrates the class level of the quad structure of the present invention.

FIG. 7 illustrates the type level of the quad structure of the present invention.

FIG. 8 illustrates the variations level of the quad structure of the present invention.

FIG. 9 illustrates the universe class element level of the quad structure of the present invention.

FIG. 10 illustrates the physics class element level of the quad structure of the present invention.

FIG. 11 illustrates the psychology class element level of the quad structure of the present invention.

FIG. 12 illustrates the mind class element level of the quad structure of the present invention.

FIG. 13 illustrates the characteristics of objective characters of the present invention.

FIGS. 14A-14F are flow diagrams describing the operation of selecting a storyform in the preferred embodiment of the present invention.

FIG. 15 illustrates an example of a computer system for implementing the present invention.

DETAILED DESCRIPTION OF THE INVENTION

In the following description, numerous specific details are set forth in order to provide a more thorough understanding of the present invention. It will be apparent, however, to one skilled in the art, that the present invention may be practiced without these specific details. In other instances, well-known features have not been described in detail in order not to unnecessarily obscure the present invention.

The present invention provides a method of identifying, predicting and reporting relationships. In the preferred embodiment, and in the example described, the present invention provides a method for identifying, predicting, and reporting the relationships in a story to create a storyform.

A "storyform" is the dramatic structure or blueprint that contains the essence of the entire argument to be made. A storyform is a specific combination of elements and their dynamic influences on each other. Each storyform contains the entire set of story elements needed to create a complete story. In the preferred embodiment of the present invention, a storyform is represented as a plurality of appreciations.

In the present invention, there are certain commonly shared dramatic concepts that are present in a story. When a person attempts to deal with troubles, certain considerations and perspectives are commonly adopted such as "goals," "requirements," and "consequences." Stories, which represent analogies to this problem solving process, also incorporate these aspects. In the present invention, these shared considerations are referred to as "appreciations."

The way the model is explored is by measuring quads using each of three kinds of pairs known as dynamic pairs, companion pairs and dependent pairs. The process of measuring a quad three ways "triangulates" on the suspected meaning of how that quad is arranged internally, and a fourth appreciation provides the context of the quad as a whole in the overall storyform. There are several ways to create an order of events by scanning the storyform by pairs. Some of these make the outline of the big picture visible at the very beginning, then spend the rest of the progression filling in details until all is known. Other approaches start with the detail, then build outward to the big picture. In any case, only when the story is over does the audience have all the pieces necessary to know what it means on a grand scale.

Dramatic choices made by an author determine how dramatic units are to be moved, but we have not yet described how it is determined which dramatic units are going to be affected. To link both structure and dynamics, the author selects the nature of the problem by "zeroing in" on it through a number of choices. One way to appreciate this concept is to start with a quad at the top level (class) and work down through the other three levels to the bottom of the structure.

The quad of classes consists of Universe, Physics, Mind, and Psychology. Each class describes an area in which the problem of the story seems to center. A problem in the Universe class involves a situation, which is a state in the environment. A problem in the Physics class concerns an activity, which is a process in the environment. Mind Class describes problems concerning a fixed attitude, or state of mind. The Psychology class contains problems with a manner of thinking, which is a process of the mind.

Once an author has decided upon a specific element as the center of the story's problem, it becomes the "lynch pin" for all of the story's dynamics. This Critical Element is the nodal point of the storyform: the single unit around which all of the story's dissonance is built. All of the dynamics can now be applied to the structure in reference to that point. If one were to keep all dynamic choices the same but merely select a different critical element, the resulting storyform could have an entirely different meaning. However, since the structure is fractal in nature, sometimes a shift in position of the choice of critical element can result in differences in meaning, yet other times, differences in critical element position might have little effect other than nuance.

In a sense, experiencing the progression of the story is a subjective view, whereas observing the big picture after all the information is available is an objective view. In fact, the concept of a story having two vantage points clarifies many of the relationships between audience and story. One way to appreciate the difference between Subjective and Objective perspectives is to imagine each story as a battle. The Subjective view of the battle, the one that speaks to our emotions, puts us down in the trenches in the middle of the action. This is the realm of the Main Character and works to develop our empathy for her or him. The battle is also observed by a General on the hill, who, although concerned with the outcome, is not actually involved. This more dispassionate perspective is the Objective View. It is the dissonance between the Main Character's perspective and the Objective Reality provided by the author that carries the message of the story.

This dissonance is created in the following manner. Either the Subjective or Objective perspective will serve as the "measuring stick" for the audience, becoming the carrier wave or reference signal. A Subjective measuring stick sides with the Main Character and indicates they must hold on to their resolve. An Objective measuring stick sides with the universe at large, indicating the character should learn they are in error and change. All that is explored in the story will be judged against this constant.

QUAD STRUCTURE AND ADDRESSING

The quad structure of the preferred embodiment of the present invention may be implemented on the computer set forth in FIG. 15. The quad structure of the preferred embodiment of the present invention is described with respect to FIGS. 1-13.

FIG. 1 illustrates a quad pattern in the present invention. A number of relationships are defined with respect to, and illustrated by, the quad pattern of FIG. 1. For purposes of example, the quad pattern consists of a 2.times.2 grid. The upper left hand location of the grid is referred to as location "W". The upper right hand location is referred as to location "X". The lower left hand location is referred to as location "Y". The lower right hand location is referred to as location "Z". The locations of the quad are defined to have the relationship expressed by W/Z=X*Y. That is, whatever is in location W is divided by the units in location Z and this expression is equivalent to the product of the units in location X and the unit in location Y.

In addition, a number of other relationships exist with respect to the quad of FIG. 1. A pair of units along the diagonal from location W to location Z is referred to as the "dynamic pair". The units on the diagonal from location X to location Y are referred to as the co-dynamic pair. The units from location W to location X are referred to as the "companion pair". The units along the line from location Y to location Z are defined as the "co-companion pair". The units in the line from location W to location Y referred to as the "dependent pair". The pair of units along the line from location X to location Z are referred to as the "co-dependent pair".

For purposes of example, the present invention uses parameters in the quads that can be thought of as representing the following:

Knowledge (K)

Thought (T)

Ability (A) and

Desire (D)

The preferred embodiment of the present invention is a "Knowledge based system" so that K is in the upper left hand system of the quad pattern as shown in FIG. 2A. In a preferred embodiment, K is in a dynamic pair relationship with Thought and so T is in the lower right hand location of the quad pattern. K is in a companion relationship with Ability so that A is in the upper right hand location of the quad pattern. K is in a dependent relationship with Desire so that D is in the lower left hand position of the quad pattern. As defined above, the relationship of the placement of K, T, A, and D of FIG. 2A can be expressed by the equation:

K/T=A*D (Equation 1)

The quad pattern of FIG. 2A is altered by rotating the quad pattern about the axis 201 formed by the vertical line between the left and right side of the quad pattern pairs. This results in the pattern of FIG. 2B where A is in the upper left corner, K is in the upper right corner, T is in the lower left corner, and D is in the lower right corner. The relationship of the pattern of FIG. 2B is described by:

A/D=K*T (Equation 2)

In the pattern of FIG. 2B, A and D are the dynamic pair, K and T are the co-dynamic pair, A and K are the companion pair, T and D are the co-companion pair, A and T are the dependent pair and K and D are the co-dependent pair.

The pattern is again changed by rotating the quad of FIG. 2B about the horizontal axis 202. This results in the pattern of FIG. 2C with T in the upper left hand corner, D in the upper right hand corner, A in the lower left hand corner, and K in the lower right hand corner. The relationship of the units of this pattern is expressed by:

T/K=D*A (Equation 3)

The dynamic pair is TK, the co-dynamic pair is DA, the companion pair is TD, the co-companion pair is AK, the dependent pair is TA, and the co-dependent pair is DK.

Rotating the pattern of FIG. 2C about axis 201 results in the pattern of FIG. 2D. In FIG. 2D, D is in the upper left corner, T in the upper right, K in the lower left and A in the lower right. DA is the dynamic pair, TK is the co-dynamic pair, DT is the companion pair, KA is the co-companion pair, DK is the dependent pair, and TA is the co-dependent pair. The relationships of the units of the pattern of FIG. 2D is expressed by:

D/A=T*K (Equation 4)

The quad can also be rotated on the diagonal to create new relationships. Referring to FIG. 2E, we see the pattern of this form by rotating the quad pattern of FIG. 2A about the diagonal from the upper left to the lower right. This results in the pattern with K in the upper left, D in the upper right, T in the lower right and A in the lower left. This relationship is described by:

K/T=D*A (Equation 5)

The dynamic and co-dynamic pairs are KT and DA respectively, the companion and co-companion pairs are KD and AT respectively, and the dependent and co-dependent pairs are KA and DT respectively.

FIG. 2F illustrates the pattern of FIG. 2B rotated about the axis from the upper left to lower right. A is in the upper left, T is in the upper right, K is in the lower left, and D is in the lower right. This pattern is expressed by the equation:

A/D=T*K (Equation 6)

The dynamic and co-dynamic pairs are AD and TK respectively, the companion and co-companion pairs are AT and KD respectively, and the dependent and co-dependent pairs are AK and TD respectively.

Rotating the pattern of FIG. 2C about the axis from the diagonal from upper left to lower right, results in the pattern of FIG. 2G. T is in the upper left, A is in the upper right, D is in the lower left, and K is in the lower right. This pattern is expressed by the equation:

T/K=A*D (Equation 7)

The dynamic and co-dynamic pairs are TK and AD respectively, the companion and co-companion pairs are TA and DK respectively, and the dependent and co-dependent pairs are TD and AK respectively.

Rotating the pattern of FIG. 2D about the diagonal from the upper left to lower right results in the pattern of FIG. 2H where the dynamic and co-dynamic pairs are DA and KT respectively, the companion and co-companion pairs are DK and TA respectively, and the dependent and co-dependent pairs are DT and KA respectively. This pattern is expressed by the equation:

D/A=K*T (Equation 8)

The expression on the right hand side of the equivalent sign is not a bidirectional or commutatable operation. That is, K*T is not the same as T*K.

The relationship described in FIGS. 1 and 2A-2H describes the relationship developments in the horizontal plane. The same relationship holds true in the vertical plane. Referring now to FIG. 3, four planes, W, X, Y and Z are illustrated with W being the highest plane followed by the X plane, the Z plane and the Y plane. The formula relationship among the locations of FIG. 1 holds true for the planes of FIG. 3, namely W/Z=X*Y. In the preferred embodiment of the invention, planes W, X, Z and Y are associated with the values K, A, T and D respectively. The relationship of these four values is governed by their location in the planes. The units in the W and Z planes always have a ratio relationship while the units in the X and Y planes always have a product relationship.

In the preferred embodiment, the present invention uses a "quadstructure" of units in physical locations that describe their effect upon one another. This "quadstructure" is implemented on a computer in the preferred embodiment of the present invention. An overview of this quadstructure is illustrated in FIG. 4. In the quadstructure of the present invention, each unit at one level is associated with four units on the next level down. Referring to FIG. 4, the top level of the quadstructure is level 401 with levels 402, 403, and 404 below that level. In the present invention the top level is referred to as the "class" level and consists of the universe unit in the upper left corner, unit 401.1, a physics unit in the upper right corner, unit 401.2, a psychology unit 401.3 in the lower left corner and a mind unit 401.4 in the lower right corner. Below each unit of the class level 401 are four units at level 402. Level 402 is referred to as the "type" level. The type level 402 consists of four quadstructures, each consisting of a 2.times.2 array of units. As noted previously, since each unit of one level is associated with four units at the next lower level, and the level 401 consists of four units, level 402 consists of 16 units.

Each unit of level 402 is associated with four units on level 403. Thus, with sixteen units in level 402, there are 64 units in level 403. As can be seen, by extending the boundaries of each unit of level 402 to level 403, the boundaries sound four smaller proportioned units. Each 2.times.2 quadstructure of level 402 has an associated 4.times.4 structure at level 403.

Finally, each unit of level 403 has associated with it four units at level 404. Thus, level 404 consists of four 8.times.8 structures or 256 units. The relationship of four units and any 2.times.2 quadstructure at any level, is the same as the relationship described with respect to FIG. 1. That is, the units at locations W, X, Y and Z will have the relationship W/Z=X*Y. In addition, the relationship among the various levels is that as described with respect to FIG. 3. Namely, the first and third levels are in a dynamic relationship, and the second and fourth levels are in a co-dynamic relationship. The first and fourth level are in a dependent relationship and the second and third level are in a co-dependant relationship. The first and second level are in a companion relationship and the third and fourth level are in a co-companion relationship.

The preferred embodiment of the present invention relates to the creation of story forms in the identification of relationships and appreciations based on user input. In one embodiment of the present invention, the user input is obtained using a computer.

Quadstructure Units and Addressing Scheme

The present invention uses a five place addressing scheme to identify units in the quadstructure. The addressing scheme is illustrated in FIG. 5. In the scheme of FIG. 5, the most significant position of the addressing scheme at the left and the least significant position is at the right. The first position, the most significant position represents and identifies the class, the next position identifies the type, the next the variation and fourth the unit. The fifth place represents a range that allows the selection with a single address of a quad of units etc. up to an entire level of units. The class position can vary from a value of one to four to identify one of the four class level units. The numbering system relies on the following convention. The upper left hand corner of a quad is identified as location one, the upper right as location two, lower left as location three and lower right as location four. The type variation unit and range can all vary from zero to four. The values of one to four for type variation and element identify a quad position. A zero value in a type variation or element means that no unit is selected at that level. Typically, this means that the next higher level with a non-zero value is the level of interest. The range value is described further below with respect to particular examples.

FIG. 6 illustrates the class level of FIG. 4 in a two dimensional presentation. Location one in the top left is the universe unit, location two on the top right is the physics units, location three in the lower left is the psychology unit, and location four in the lower right is the mind unit. The top left, the universe unit is identified with the address 10000. The one in the most significant position indicates that the unit and the one location of the quad is the unit of interest. The zero in the type variation and unit locations indicates that there are no selections made at those levels. The zero and the range position indicates that it is only the unit indicated by the prior four places that is of interest. The address of the physics unit is 20000, the address of the psychology unit 30000, and the address of the mind unit is 40000. An entire quad can be selected with a single address in the present invention. Selecting the entire quad at the class level has a value of X0001 where X=don't care. The one in the range value means selecting the four members of the quad of which the units selected by the previous four address places indicates. Selecting any of the four class level units and then selecting a one in the range position selects all four of the units in the class level quad.

FIG. 7 illustrates the type level for each of the class units of FIG. 6. The type units of the universe class unit are illustrated in the upper left hand corner of FIG. 7. They include the past unit 11000, progress unit 12000, future unit 13000, and present unit 14000. The first position of the address is a 1 to indicate that these units are associated with the universe class unit. The second position selects one of the four units in the type level. The next two positions are zero indicate that there is no unit of interest below the type level. Finally, the range position of the address is a zeroed indicate that it is the unit selected by the second position which is of interest. To select the entire type quad, and address 1X001 is used.

The type quad of the physics unit of the class level includes understanding unit 21000, doing unit 22000, obtaining unit 23000, and learning unit 24000, the entire type quad is selected by the address 2X001.

The type quad associated with the psychology unit of the class level is illustrated in the lower left hand corner of FIG. 7. This includes the conceptualizing unit 31000, being unit 32000, becoming unit 33000, and conceiving unit 34000. This quad is selected by an address 3X001.

Memory unit 41000, preconscious unit 42000, subconscious unit 43000, and conscious unit 44000, make up the type quad associated with the mind unit of the class level. This quad is selected by an address 4X001. The entire type quad is selected by an address of the form XX002. At least one unit at the class and type level is selected. The variation and unit address positions are at zero and the range position has a value of two to indicate that a quad of quads is selected. That is that the 16 units associated with a selected type class unit are selected.

FIG. 8 illustrates the variations level for each unit of the class level. The universe variations consists of a quad of quads in the upper left hand corner of FIG. 8. Each quad is associated with one unit of the universe type level of FIG. 7. The units of each variation can be seen by reference to FIG. 8. For example, the variations associated with the past unit of the universe type level are fate 11000, prediction 11200, interdiction 11300, and destiny 11400. There is a quad of quads associated with each unit of the class level. And each quad of quads includes a quad associated with one unit of its associated type unit. The address of a quad of quads at the variations level is illustrated by reference to the quad of quads in the lower left hand corner of FIG. 8. This quad of quads is identified 3XX02. The three in the initial position refers to the psychology unit of the class level. The X in the second position means that any of the type units of FIG. 7 associated with the psychology unit may be selected. The X in the third position indicates that any of the units of the lower left hand corner of the variations level of FIG. 8 may be selected. The zero means that no lower levels are selected and the two in the last position means that a quad of quads is selected. A "quad of quad of quads" (referred to in the present invention as "chess set" of 64 units) may also be identified by a single address as illustrated in FIG. 8. Address XXX03 is used to indicate such a chess set of variation level units. X in the first three positions indicates that any of the class level type level and variation level items may be selected. The zero in fourth position indicates that nothing at the element level is selected and the three indicates that a chess set of items is to be selected. The chess set being those 64 units associated with the items chosen by the first three positions.

The lowest level in the preferred embodiment of the present invention is the element level. In the preferred embodiment, there are 64 units and they are the same in each class (universe, physics, psychology, and mind). However, the arrangement and location of the units in each class is different. The addresses and arrangements of the items at the element level can be determined by reference to FIGS. 9 through 12 which are the element levels for the universe, physics, psychology and mind class respectively. It should be noted that the addressing scheme of the present invention provides some method of referring to all of the items of the entire element level (a quad of chess sets) by any address of the form XXXX4. Four refers to a quad of chess sets.

The order of the items in each level illustrated in FIGS. 6 through 12 are referred to in the preferred embodiment of the present invention as a reference quad structure or "neutral" quad structure. The arrangement may be changed without departing from the scope of the present invention. The universe units all have an address beginning with 1, and the physics units, psychology units and mind units have addresses beginning with 2, 3 and 4 respectively.

FIG. 13 illustrates characteristics of objective characters in the preferred embodiment of the present invention. The upper left quarter of the items of FIG. 13 represent purpose units of an objective character. The items of FIG. 13 are the 64 units level items. The upper right hand quarter of FIG. 13 contains evaluation units of an objective character. The lower left hand corner contains motivation units and lower right hand corner contains methodology units.

The units of the quad tables are defined in a files referred to as "SEMTABLE.H" and "SEMTABLE.CC" illustrated in Appendix A below. The units and their definitions are described in Appendix B below.

APPRECIATIONS

As noted above, there are certain commonly shared dramatic concepts that are present in a story. In the present invention, these shared considerations are referred to as "appreciations." These appreciations are used to determine the mapping of characters, thematics, and plot on the quad structure, leading to the creation or selection of a storyform. Appreciations are best understood by describing the appreciations used in the present invention.

In the preferred embodiment of the present invention, appreciations can be categorized as character dynamics appreciations, plot dynamics appreciations, objective story appreciations, additional objective story appreciations, subjective story appreciations, main character appreciations, and obstacle character appreciations. In the preferred embodiment, these appreciations are implemented on a computer.

A number of appreciations in these categories are described below:

CHARACTER DYNAMICS

Resolve; Change or Steadfast?

Topic: At the moment of truth, every Main Character must determine whether to hold on to their resolve or to change in the hope of succeeding.

Main Character

Background: There are two ways in which an author can illustrate the best way to solve the problem explored in a story: One is to show the proper way of going about solving the problem, the other is to show the wrong way to solve the problem. To illustrate the proper way, the Main Character must hold on to their resolve and remain steadfast if they are to succeed, because they truly are on the right path. To illustrate the improper way of dealing with a problem, the Main Character must change to succeed, for they are going about it the wrong way. Of course, success is not the only outcome that can befall a Main Character. A way to illustrate that a way of dealing with a problem is improper would be to have the Main Character change their way of going about it and fail. Similarly, the improper way can be illustrated by a Main Character that remains steadfast and fails. So, choosing Change or Steadfast really has nothing directly to do with being correct or incorrect; it just describes whether the Main Character's ultimate resolve is to stay the course or try a different tack.

Storytelling Usage: Just because a Main Character should remain steadfast does not mean they don't consider changing. In fact, that is the temptation with which they are constantly faced: to give up or alter their approach in the face of ever-increasing opposition. Action oriented Steadfast stories throw physical hurdles at a Steadfast Main Character (e.g. James Bond as portrayed in most of the Bond films), whereas Decision oriented Steadfast stories throw mental or emotional hurdles at a Steadfast Main Character (e.g. Job in the Old Testament of the Bible). If, in spite of the difficulties or suffering, the Steadfast Main Character remains steadfast, the audience still may not want them to ultimately succeed. This occurs because simply being steadfast does not mean one is correct. If the audience is shown that a character is misguided yet remains steadfast, the audience will hope for their ultimate failure. Similarly, a Change Main Character does not mean they are changing all the time. In fact, in most cases, the Change Main Character will resist change, all the way to the moment of truth where they must choose once and for all to continue down the wrong path, or to jump to the right path by accepting change in themselves or their outlook.

Action oriented Change stories offer aids and benefits to assist the Main Character in continuing down the wrong path. Decision oriented Change stories provide mental or emotional gratification to the Main Character, again tempting them not to change. Regardless of the benefits to be had by remaining steadfast, the audience will want the Change Main Character ultimately to succeed if they are on the wrong path and change. However, if they do not change, the audience will want them to lose all the benefits they thought they had gained.

Impact: The selection of Change or Steadfast has wide ranging effects on the dynamics of the story. Such things as the relationship between the Objective and Subjective story lines and the order of exploration of the thematic points is adjusted in the model to create and support the ultimate decision of the Main Character to either change or remain steadfast.

Direction; Stop or Start?

Topic: Sometimes a problem is made worse by having too much of something, other times by having too little. In the "too much" scenario, the source of the trouble needs to Stop. In the "too little" scenario the remedy to existing trouble must Start. A Change Main Character must either grow into a new way of being (Start) or grow out of an old way of being (Stop). A Steadfast Main Character must grow to hold out until something good can Start or hold on until something bad Stops.

Background: Whether or not a Main Character eventually changes their nature or remains steadfast, they will still grow over the course of the story, as they develop new skills and understanding. This growth has a direction. Either they will grow into something (Start) or grow out of something (Stop). A Change Main Character grows either by adding a characteristic they lack (Start) or by dropping a characteristic they already have (Stop). Either way, their make up is changed in nature. As an example we can look to Scrooge. Does Scrooge need to change because he is mean or because he lacks kindness? Scrooge's problems stem not from his active meanness, but his passive lack of kindness. It is not that he is on the attack, but that he does not proactively seek to help others. So Scrooge needs to Start, rather than stop. This difference is important during storytelling to place the focus of conflict so as to support the argument of the story. With Steadfast Main Characters they will not add nor delete a characteristic, but will grow either by more strongly holding on against something bad, waiting for it to Stop, or by more strongly holding out until something good can Start.

For a Steadfast Character, growth is not a matter of change, but a matter of degree. The change appears not in themselves but in their environment. Change Characters actually alter their being, under the influence of environmental considerations. This illustrates both why it is often falsely thought that a Main Character MUST change, and also why steadfast characters are thought not to grow. To see growth in a Main Character one must look at both whether they are Change or Steadfast and also at the direction of the growth.

Storytelling Usage: A good way to get a feel for this dynamic in Change Characters is to picture the Stop character as having a chip on their shoulder and the Start character as having a hole in their heart. If the actions or decisions taken by the character are what make the problem worse, then they need to stop. If the problem worsens because the character fails to take certain "obvious" actions or decisions, then they need to start. Of course, to the character, neither of these problems is "obvious," as they must grow and learn to see it. Yet, the audience can empathize with the character's failure to see themselves as the source of the problem because the audience is afforded by the author another view the character does not get: the objective view. It is here that start and stop register with the audience as being obvious. Essentially, if you want to tell a story about someone who learns they have actually been making the problem worse, choose Stop. If you want to tell a story about someone who has allowed a problem to become worse, choose Start. For a Steadfast Main Character it will seem that their resolve needs to grow regardless of Start of Stop. But if they are a Start Character, they will be tempted by indications that the desired outcome is not going to happen or is unattainable. If they are a Stop Character, they will find themselves pressured to "give in." Remember that direction of growth in a Steadfast Character is largely seen in their environment. Their personal growth is seen as a matter of degree.

A Change story has a problem and its related solution. A Steadfast story has a Focus and Direction. By choosing Start or Stop, you tell the invention to shift the focus of the story to one over the other. This is accomplished by controlling the nature of the Character's concerns in relationship to the concerns of the Story and also by setting the relationship between theme and plot.

Approach: Do-er or Be-er?

Topic: In the attempt to solve problems, there are two places a Main Character might try to make progress: internally or externally. Some Main Characters prefer to take action first, and only try to adapt to the problem if action fails. We call this kind of Main Character a "Do-er." The other kind of Main Character prefers to work things out internally if they can, and only take action if deliberation fails. We call this kind of Main Character a "Be-er."

Background: By temperament, Main Characters (like each of us) have a preferential method of approaching problems. Some would rather adapt their environment to themselves, others would rather adapt themselves to their environment. There is nothing intrinsically right or wrong with either approach, yet it does affect how one will respond to problems. Choosing "Do-er" or "Be-er" does not prevent a Main Character from using either approach, but merely defines the way they are likely to first approach a problem, using the other method only if the first one fails.

Storytelling Usage: Do-er and Be-er should not be confused with active and passive. If a Do-er is seen as active physically, a Be-er should be seen as active mentally. While the Do-er jumps in an tackles the problem by physical maneuverings, the Be-er jumps in and tackles the problem with mental deliberations. The point is not which one is more motivated to hold their ground but how they try to hold it. A do-er would build a business by the sweat of their brow, a be-er would build a business by attention to the needs of their clients. Obviously both approaches are important, but Main Characters, just like the real people they represent, will have a preference. Having a preference does not mean being less able in the other area. A martial artist might choose to avoid conflict first as a be-er character, yet be quite capable of beating the tar out of an opponent if avoiding conflict proved impossible. Similarly, a school teacher might stress exercises and homework as a do-er character, yet open her heart to a student who needs moral support. When creating the Main Character, you may want someone who acts first and asks questions later, or you may prefer someone who avoids conflict if possible, then lays waste the opponent if they won't compromise. A do-er deals in competition, a be-er in collaboration.

Impact: The Main Character's affect on the story is both one of rearranging the dramatic potentials of the story, and also one of reordering the sequence of dramatic events. By choosing Do-er or Be-er you instruct the invention to establish one method as the Main Characters intent and the other as the result of her efforts.

Mental Sex: Male or Female?

Topic: Every Main Character has a Mental Sex. Even if the Main Character is physically sexless, such as a tree or a rock, It will possess a female or male mind. All minds evaluate their environments in terms of both space and time. A primary difference between male and female minds is which is evaluated first. This does not prevent either mind from looking at any issue from both perspectives, but does affect the order in which they are considered.

Background: Much of what we are as individuals is learned behavior. Yet the basic operating system of the mind is cast biologically before birth. Talents, intellectual capacity, instincts--all of these are not learned, but inherited. Among these traits are those specific to females and others specific to males. To be sure, we can go a long way toward balancing out those traits, yet that does not eliminate them nor diminish their impact. In dealing with the psychology of a Main Character, it is essential to understand upon which foundation their experience rests.

Storytelling Usage: A choice of male or female determines the manner in which the Main Character evaluates the problem, not the conclusions they come to. Typically, the choice is as simple as deciding if you want to tell a story about a man or a woman. But there is another consideration that is being employed with growing frequency in modern stories: putting the psyche of one sex into the skin of another. This does not refer only to the "sex change" comedies, but to action stories with female Main Characters (Ripley in "Alien") and decision stories with male Main Characters (Tom Wingo in "Prince of Tides").

Female or male does not in and of itself determine do-er or be-er nor action or decision. Rather, female or male describes an intrinsic perception of the meaning of life, a perception underlying the actual traits of the character. When an author writes a part for a man, they would intuitively create a male psyche for that character. Yet, by simply changing the name of the character from Joe to Mary and shifting the appropriate gender terms, the character would ostensibly become a woman. But that woman would not seem like a woman Even if all the specific masculine dialog were changed, even if all the culturally dictated manifestations were altered, the underlying psyche of the character would have a male bias, rather than a female bias.

Sometimes stereotypes are propagated by what an audience expects to see, which filters the message and dilutes the truth. By placing a female psyche in a male character or a male psyche in a female character, preconceptions no longer prevent the message from being heard. The word of warning is that this technique can make a Main Character seem "odd" in some hard to define way to the audience. So although the message may fare better, empathy between the audience and the Main Character may not.

Impact: All minds evaluate in terms of arrangement and in terms of sequence. By selecting female or male, you instruct the invention to order the arrangement and sequence of the Main Character's evaluations in an appropriate relationship.

PLOT DYNAMICS

Work: Action or Decision?

Topic: A story might lean toward action or focus on deliberation (decision). This is independent of the nature of the Main Character. For example, in an action story, the Main Character may be more of a deliberator than a person of action. Therefore, it is important for an author to separate the nature of the Main Character from that of the story as a whole.

Background: Action or Decision describes how the story is driven forward. The question is: Do Actions precipitate Decisions or vice versa? At the end of a story there will be an essential need for an action to be taken and a decision to be made. However, one of them will be the roadblock that must be removed first in order to enable the other. This causal relationship is felt throughout the story where either actions would never happen on their own, except that decisions keep forcing them, or decisions would never be made except that actions leave no other choice than to decide.

Storytelling Usage: Stories contain both action and decision. Choosing one does not exclude the other. Rather it merely gives preference to one over the other. This preference can be enhanced or nearly balanced out by other dynamic questions you answer about the story. It's really a matter of the background against which you want the Main Character to operate. The choice of background does not have to reflect the nature of the Main Character. In fact, some very interesting dramatic potentials can be created when they do not match. For example, a Main Character of action (called a Do-er) forced by circumstance to handle a deliberation-type problem would find themselves at a loss for the experience and tools they need to do the job. Similarly, a deliberating Main Character (called a Be-er) would find themselves whipped into a turmoil if forced to resolve a problem requiring action. These mixed stories appear everywhere from tragedy to comedy and can add an extra dimension to an otherwise one sided argument.

Impact: Do Actions precipitate Decisions, or do Decisions precipitate Actions. Since a story has both, it is really a question of which came first: chicken or egg? By selecting one over the other, you instruct the invention to establish a causal order between dynamic movements in the Action line and the Decision line.

Limit: Timelock or Optionlock?

Topic: Every story would go on forever unless the Main Character reached a point where they are forced by circumstance to make a decision to change or remain steadfast in a "leap of faith." To reach this point, the Main Character must "run out of something." In a Timelock, the Main Character runs out of time. In an Optionlock, the Main Character runs out of options.

Background: No one can be sure of the future, including Main Characters. One of the functions of a story is to give the audience the value of experiences they have not had themselves by living through the Main Character. As such, the audience would have to take the story's message on faith to make use of it. To help with this, the Main Character must also make their decision based on faith. They decide and hope for the best, and we learn from their accomplishments or disappointments. Yet, even a Main Character would not jump into the void and commit to a course of action or decision unless forced into it. To force the Main Character to decide, the story provides all the necessary information to make an educated guess while progressively closing in on the Main Character until they have no alternative but to choose. This closing in can be accomplished in either of two ways. Either they run out of places to look for the solution or they run out of time to work one out. Running out of options is accomplished by an Optionlock. A deadline is accomplished by a Timelock. Both of these means of limiting the story and forcing the Main Character to decide are felt from early on in the story and get stronger until the moment of truth. Optionlocks need not be claustrophobic so much as they only provide limited pieces with which to solve the problem. Timelocks need not be hurried so much as limiting the interval during which something can happen.

Storytelling Usage: Choosing a Timelock or an Optionlock has a tremendous impact on the nature of the tension the audience will feel as the story progresses toward its climax. A timelock tends to take a single point of view and slowly fragment it until many things are going on at once. An optionlock tends to take many pieces of the puzzle and bring them all together at the end. So a timelock raises tension by dividing attention, and an optionlock raises tension by focusing it. Timelocks increase tension by bringing a single thing closer to being an immediate problem, optionlocks increase tension by building a single thing that becomes a functioning problem.

One cannot look just to the climax to determine if a Timelock or Optionlock is working. Indeed, both Time and Option locks work from the beginning of the story. A better way to gauge which is at work is to look at the nature of the obstacles thrown in the path of the Protagonist or Main Character. If the obstacles are primarily delays, a timelock is in effect if the obstacles are caused by missing essential parts, an optionlock is in effect. An author may feel more comfortable building tension by delays or building tension by missing pieces. Choose the kind of lock most meaningful for you.

Impact: A dramatic structure has both spatial and temporal frameworks adjusting themselves in arrangement or sequence appropriate to the author's message during the course of the story. Consistently throughout the story either a change in arrangement will force a change in sequence or a change in sequence will force a change in arrangement of dramatic potentials. Which one causes the other is controlled by the choice of Timelock or Optionlock.

Outcome: Success or Failure?

Topic: Success or Failure is determined by whether or not the Objective Characters achieve their original purpose in regard to the story problem.

Background: Although it can be tempered by degree, Success or Failure is easily determined by seeing if the Objective Characters have achieved what they set out to achieve at the beginning of the story. Certainly, they may learn that they really don't want what they thought they did and in the end not go for it. Even though they have grown, this is considered a failure--they did not achieve what they originally intended. Similarly, the Objective Characters may actually achieve what they wanted, and even though they find it unfulfilling or unsatisfying, it must be said they succeeded. The point here is not to pass a value judgment on the worth of their success or failure, but simply to determine if they actually did succeed or fail to achieve what they set out to achieve at the beginning of the story.

Storytelling Usage: For certain stories, it may be desired to have a very positive feel to the outcome by having success matched with a positive judgment of that success. Other times, it may be desired to have a very negative feel to the outcome by matching failure with a negative judgment of that failure. In the first case, we create a "feel good" story, as they say in the ads. In the second, we create a tragedy. But all stories do not fall at one pole or the other. Frequently, authors choose to have "bad" characters succeed, and show the regrettable result of that success, or to have "good" characters fail, but show how that failure was really positive for them or others. When deciding if you want Character to succeed, think not only of the stories where the winner takes all, but of those stories where a valiant effort fails, yet the Characters learn an important lesson about life. When deciding if you want the Characters to fail, think not only of someone getting their just deserts, but of those stories where a misguided success leads to a result opposite what the Characters had hoped to achieve by the success.

In short, either success or failure can be seen as an "upper" or a "downer" by the audience, and the approach you take to the message should consider that.

Impact: Achieving something requires accomplishing the right steps in the right order to get from where the Characters start to where they want to be. When you choose success or failure, the invention alters the kind of steps the Character will need to take, and determines the appropriate order to bring them to the desired outcome.

Judgment: Good or Bad?

Topic: Even though the effort to achieve the story's goal may result in success, this is not necessarily a good thing for the Main Character. In fact, success might be obtained in the objective story even though the Main Character fails to resolve their personal problems. Similarly, the effort to achieve the story goal might end in failure, yet the Main Character ends up overcoming their personal problems. Just as Success and Failure evaluate the positive or negative nature of the objective story's outcome, Good and Bad indicate whether or not the Main Character resolves their personal problems.

Background: The notion that the good guys win and the bad guys lose is not always true. In stories, as in life, we often see very bad people doing very well for themselves (if not for others). And even more often, we see very good people striking out. If we only judged things by success and failure, it wouldn't matter if the outcome was good or bad, as long as it was accomplished. The choice of Good or Bad, places the author's moralistic judgment on the value of the Main Character's success or failure in resolving their personal problems. It is an opportunity not only to address good guys that win and bad guys that fail, as well as good guys that fail and the bad guys that win, but to comment on the success or failure of their growth as human beings.

Storytelling Usage: The rational argument of a story deals with practicality: does the kind of approach taken lead to success or failure in the endeavor. In contrast, the passionate argument of a story deals with fulfillment: does the Main Character find peace at the end of their journey? If you want an "upper" story, you will want success in the objective story and a judgment of "good" in the objective story. If you want a tragedy, you will want the objective effort to fail, and the subjective journey to end badly as well. However, life is often made of trade-offs, compromises, sacrifices, and re-evaluations, and so should be stories. Choosing Success/Bad stories or Failure/Good stories opens the door to all these alternatives. If we choose a Failure/Good story, we can imagine a Main Character who realizes they had been fooled into trying to achieve a goal, or a Main Character who discovers something more important to them personally in the course of trying to achieve the goal. A Success/Bad story might end with a Main Character achieving their dreams only to find they are meaningless, or Main Character who makes a sacrifice for the success of others but ends up bitter and vindictive.

Impact: Because success & failure are measurements of how well specific requirements have been met, they are by nature Objective. In contrast, Good and Bad are Subjective value judgments based on an appreciation of the Main Character's peace and fulfillment. When you select Good or Bad, the invention adjusts the "phasing" between the Objective and Subjective storylines to create an interference pattern that support the appropriate value judgment.

THE OBJECTIVE STORY

Objective Story Domains: Which Class?

Topic: Every story is built around the difficulties created by something that is out of balance. There are four broad areas that define the "classes" of inequities that can occur. These are described by the four Domains.

Background: An author cannot successfully make an argument promoting a solution until she has identified the problem. In stories, problems can be identified as falling into four broad categories: Situations, Activities, States of Mind, and Manners of Thinking. These categories are named by the four Domains, Universe (a situation), Physics (an activity), Mind (a state of mind) and Psychology (a manner of thinking). Universe represents an External State, Physics an External Process. Mind is an Internal State and Psychology an Internal Process. Since they are related, all four of these Domains will figure in every story as the problem works its influence into all areas of consideration. However, only one Domain will ultimately prove to be both the source of the problem's roots and therefore the place it must ultimately be solved.

Storytelling Usage: By choosing the Domain, the author sets the background against which the story will be told. Therefore, its influence is gently felt throughout the story. A Universe story deals with an unacceptable situation--one in which the external environment is seen as problematic. This could be a job situation with poor working conditions, being trapped in a sunken ship, waking up as someone else, living next to an orphanage that keeps you awake at night with its screaming waifs or any other intolerable state of affairs. A Physics story employs an activity that needs to arrive at a solution. This might be the effort to steal the crown Jewels, win the love of the heart's desire, make the Olympic team, or raise the money to buy the orphanage and evict all the screaming waifs. Note that if the existence of the orphanage is the focus of the story, it is a Universe (situation) Domain. However, if the effort to buy it is the focus, it is a Physics (activity) Domain. In a like manner, Mind Domain reflects a state of mind and Psychology Domain describes a mental activity (or manner of thinking). Mind Domain stories might be about prejudice, a lack of self-worth (if it is a fixed view), or a refusal to see the value of someone's desires. Psychology Domain supports stories where one takes too many risks, is egocentric, or makes light of serious situations.

As a final note, it is important to keep in mind that stories are often not about a problem that exists but a desire to be fulfilled. Stories of this nature can create a much more positive feel as exemplified in a Universe story in which an heiress must spend a million dollars in 24 hours to inherit 30 million more, a Physics story where a mountaineer hopes to be the first to scale a mountain on Mars, a Mind story of unconditional love, or a Psychology story about overcoming a dependence on sedatives.

Impact: The choice of Domain narrows the playing field of a story. Without actually putting up walls, choosing a Domain shifts the focus of audience attention by establishing the center around which broad scale dynamics will revolve. The invention engine is calibrated to this center.

Objective Story Concerns: Which Type?

Topic: The story's concern describes the area in which the effects of the problem are principally felt. By defining the nature of what must be "fixed," the concern represents the goal or purpose sought in the story.

Background: Problems can manifest themselves in several ways. Therefore, simply defining the nature of a problem does not necessarily predict its effect. For example, if the problem is not enough money to pay the rent, it might motivate one person to take to drink but another to take a second job. The effects of a problem are not necessarily bad things, but simply things that would not have happened quite that way without the existence of the problem. So it is with Concerns. The choice of Concern determines the principal area affected by the story's problem and serves as a broad indicator of what the story is about.

Storytelling Usage: The Concern of a story tends to revolve around a definable area of activity or exploration. This central hub may be internal such as Memory or Conceiving (coming up with an idea). Or, it may be external such as Obtaining or Progress. When choosing a Concern it is often useful to ask, "Which of these items is what I want the characters in my story to examine?" Keep in mind that the Concern only describes WHAT is being looked at. HOW to look at it is determined by choosing the Range. Impact: The choice of Concern sets limits on how much dramatic ground the Theme can potentially encompass and therefore includes some kinds of considerations and excludes others.

Objective Story Ranges: Which Variation?

Topic: An author must not only choose the nature of the problem in her story, but also in what light she wishes to present it. The choice of Range determines the yardstick by which the audience will be urged to measure the problem.

Background: In stories, it is not only important what you wish the audience to look at but also in what light you want them to see it. The point of view from which the audience evaluates the meaning of the story is crucial to supporting the conclusion to a given argument. Range helps select a filter through which the author can control the shading of the events that unfold. In a sense, Range provides the audience with a yardstick and tells them, "measure what you see to this scale."

Storytelling Usage: For any given issue there can be many points of view. To make a successful argument an author must address them all, yet select one as the standard perspective. If an author wishes to explore a concept rather than argue it, she must still touch all perspectives and select one as the view from which all the others are measured. If this yardstick is not provided, the audience is free to judge anything from any point of view and will simply adopt the one they are familiar with out of habit. As a result, they will gain no new understanding and the story will have no purpose other than to reiterate what the audience already knew. Conversely, if an author wishes to make a point or deliver a message or even document the similarities and differences between dramatic incidents, then the events of the story must be measured against something. Choosing the Range tells an audience by what standard the author intends them to evaluate what they experience in the story.

Impact: By placing the story's problem in context, the choice of Range determines the thematic progression that supports that desired point of view on the events in the story.

Objective Story Problem: Which Element?

Topic: At the heart of every story is an item that is out of balance with its surroundings. Choosing the story's Problem defines the nature of that imbalance.

Background: When everything in a potential story is in harmony, there is no conflict, no message, no progression. It is like a deck of cards sitting solidly on a table. However, if we use that deck to build a house of cards, we have created potential. No matter how well we construct it, gravity is always waiting to pull it down beginning at the first weak point that occurs. The invention Engine is like the deck of cards. When we answer the first eight Essential Questions, we build a card house of dramatics. Still, it is balanced, although potential exists. The choice of Domain, Concern and Range establish weaknesses in the structure. The choice of Problem picks the card that starts to buckle threatening to bring the whole house down.

Storytelling Usage: Problems are at the heart of a story's troubles. Sometimes a problem is shown as the central cause of a number of troubles. Other times problems are shown as the imbalance that triggers a domino effect. If a number of seemingly unrelated items all go sour, the common connection will turn out to be the problem. If a chain of events results in disaster, the problem can be seen as the force that started it all. When telling a story, an author has a choice of focusing on the problem or its effects. In the first case, where the problem is at the center of troubles, the storytelling might begin with the problem and then show how its ripples impact everything they touch as they grow around it. Conversely, the storytelling might first explore the seemingly unrelated troubles, slowly spiraling in on the source, which is only discovered at the end. In a more linear story, an author might begin with the problem and follow its impact step by step to its ultimate effect. Or, working backwards, the author might begin at the effect, and trace its roots back until the original problem is identified.

Impact: Once the story's problem is chosen, the invention Engine arranges all the other dramatic choices the author has made around the problem so the story's dynamics are both dependent upon it, and derivative of it.

Objective Story Goal: Which Type?

Topic: Traditionally, Goal has been seen as the specific item the characters in a story are hoping to achieve. The invention is more interested in the kind of goal than the goal itself. Choosing the Objective Story Goal determines the Purpose to which the characters aspire, rather than the particular achievement they hope will meet that Purpose.

Background: Some stories have a single item everyone in the story is trying to achieve, such as obtaining a priceless diamond. Other stories have the characters all seeking different goals, but of the same type, such as becoming content in their various intimate relationships. In the first example, the invention Goal would be Obtaining. In the second example, the invention Goal would be Becoming. In both cases, everyone is concerned with the same Purpose to which they aspire, even though they are all after the same diamond but are involved in different relationships. This allows an author to explore the different approaches that can be taken in the effort to arrive at the same purpose and argue the point that some are appropriate and others are not.

Storytelling Usage: Some stories have a single item everyone in the story is trying to achieve, such as obtaining a priceless diamond. Other stories have the characters all seeking different goals, but of the same type, such as becoming content in their various intimate relationships. In the first example, the invention Goal would be Obtaining. In the second example, the invention Goal would be Becoming. In both cases, everyone is concerned with the same Purpose to which they aspire, even though they are all after the same diamond but are involved in different relationships. This allows an author to explore the different approaches that can be taken in the effort to arrive at the same purpose and argue the point that some are appropriate and others are not.

Impact: The Choice of Goal picks a focal point in the plot around which the order and nature of events must revolve. The invention engine applies the story's dynamics to this focal point in order to determine an appropriate Consequence should the Goal fail to be achieved, appropriate Requirements necessary to achieve the Goal and a number of other related dramatic Appreciations.

Objective Story Dividend: Which Type?

Topic: On the path toward achieving the goal, unexpected items or perks are collected that make the effort itself worthwhile, independent of the Goal.

Background: Each obstacle that is overcome on the way toward the Goal illustrates another aspect of the problem and the "proper" or "improper" means of solving it. However, the Costs incurred in the endeavor would quickly deplete the characters' resolve to the point that the Goal was no longer worth the effort. To motivate the characters toward the goal, the Costs must be balanced by Dividends that either undo the negative effects of the Costs or have benefits elsewhere that make the price acceptable.

Storytelling Usage: Renegades trying to escape to the Badlands may come across a farmer's daughter to rape. Joan of Arc, on her way to be burned at the stake may see the clouds part and rays of sunshine beckon to her. Depending upon the characters and their Goal, certain items, events or experiences will occur that make the journey more worthwhile. If it were not for these Dividends the arduous endeavor would become too Costly to warrant continuing. Characters do not simply add up the Costs, but they average them with the Dividends to determine the overall propriety in continuing on their quest. Dividends do not need to be tangible, but may be personally fulfilling such as visiting a foreign city, helping a child to read or the opportunity to get the personal dossiers of co-employees one is romantically interested in. If we look at the effort to achieve the goal as going to work to get a paycheck, then the Costs of having to live by the rules under someone else's authority might be balanced out by the personal friendships one has established. Then it comes back to a choice between staying on and achieving the Goal of a paycheck or quitting and facing the Consequence of a foreclosure. That is the purpose of Dividends: to balance out the Costs so that it all comes back to a decision regarding the Goal vs. the Consequence.

Impact: Choosing the Dividend determines the category of benefit that the characters will accrue on the way toward the Goal. Dividend helps to select comparable Costs and limits the choices of appropriate Goal and Consequence.

Objective Story Cost: Which Type?

Topic: During the attempt to achieve the story's Goal there is a price that must be paid. Cost determines the nature of the negatives attached to the effort.

Background: There's no such thing as a free lunch. There's also no such thing as achieving a Goal without paying a price. Every Goal is separated from instant achievement by a number of obstacles. If it were not so, a story would end as soon as it began. For each obstacle that must be overcome, effort must be expended. This results in a net loss to the character, who hopes to more than justify the expense by achieving the Goal. The kind of Cost incurred in a given story depends upon the nature of the Goal and the Requirements for its achievement.

Storytelling Usage: Cost describes the area in which negative impact is felt as a result of the effort to overcome obstacles on the way to the Goal. This is not unlike a Role Playing game where the Warrior loses "life points" or expends "magic" as she does battle with the evil elves. Fighting demons takes its toll, and so does trying to get an "A" in math. Whatever the Goal, there are certain steps that must be taken or obstacles that must be surmounted. Each effort made will deplete the reserves of the character or negatively impact the character in obscure ways that make them question the worth of continuing on the journey. This is as true of the effort to save a marriage as it is of the struggle to blow up the Orange Claw's munitions dump. The toll adds up, the cost begins to come close to outweighing the benefits of achieving the Goal. In fact, it may even appear prudent to cut one's losses and accept the Consequences, rather than continue to throw good effort after bad. This is how the tension builds that makes a Main Character's leap of faith so powerful. At the moment of climax, the Cost balances out the Goal and there is no clear right or wrong of it. It's just a throw of the dice for the character as to whether it's better to hold on to the end or toss in the towel. Some stories slowly build the Cost so that it reaches that balance gradually. This makes the character feel as if the weight dragging them back is slowing increasing until they are dead in the water. Other stories keep the costs low and balance it out right before the climax with one huge cost that must be paid all at once. Again, this is a matter of intensity and completely open to manipulation. However, the kind of Co