The trick in Storyencoding theme is to make sure the audience knows what the argument is about without coming right out and saying it. It's also to make sure you make the argument without the audience ever feeling manipulated or the point made in a heavy-handed fashion. In this section we will explore methods of achieving these purposes for theme in general and suggest tips and considerations specific to the themes of each of the four throughlines.

What Are You Talking About?

Without theme, a story is just a series of events that advances logistically and ends up one way or another. Theme is what gives it all meaning. When encoded, theme will not be a universal meaning for all things, but a smaller truth about the proper way of dealing with a particular situation. In a sense, the encoding of theme moves the emotional argument of the story from the general to the specific. If you make the argument strongly enough, it may influence attitudes in areas far beyond the specific, but to be made strongly, it must limit its scope to precise encoding.

If our thematic conflict were Morality vs. Self-Interest, for example, it would be a mistake to try to argue that Morality is always better than Self-Interest. In fact, most people's life experience would tell them that sometimes Self-Interest is the better of the two. Keep in mind here that Dramatica defines Morality as "Doing for others with no regard for self" and Self-Interest as "Doing for self with no regard for others." This doesn't mean a Self-Interested person is out hurt to others, but simply that what happens to others, good or bad, is not even a consideration.

As an example, Morality might be better if one has plenty of food to share during a harsh winter and does so. Morality might be worse if one subdues one's life rather than displease one's peers. Self-Interest might be better if a crazed maniac is charging at you and you kill him with an ax. Self-Interest might be bad if you won't share the last of the penicillin in case you might need it later. It all depends on the context.

Clearly, the first step in encoding thematic story points is to check the definitions first! Dramatica is extremely precise in its definitions to make sure the thematic structure represents all the shades of gray an audience might expect to see in a thematic argument. So, before you even consider the conflict, read the definition that will help define where the real conflict lies.

A good rule of thumb is that each conflict should be explored at least once each act. In this way, the balance between the two sides of the conflict can be examined in all contexts appropriate to the story's message.

Further, it is clumsy to encode the entire conflict. It is much better to show one side of the conflict, and then later show the other side in a similar situation. In this manner, you show the relative value of each side of the thematic conflict without directly comparing the two. In each act, then, what are some methods of encoding the two sides of the thematic conflict? This depends on which throughline is in question.