the dramatic potential created by the differential between the Objective Story and Main Character Throughlines
In Dramatica, we can examine a story from the outside as a dispassionate observer, noting the relationship of Character to Plot to theme. We can also examine a story from the inside, by stepping into the shoes of the Main Character to discover how things look to him. In the first case, we see the story like a general watching a battle from atop a hill. We are concerned with the outcome, but not actually involved. This is the Objective Story perspective. In the second case, we see the story from the point of view of a Main Character. This is more like the view of a soldier in the trenches. We are watching the same battle, but this time we are personally involved. This is the Main Character perspective. An audience is provided access to both Objective Story and Main Character views by the author. When the audience is only shown information that the Main Character also receives, it is in the Main Character perspective. When the audience receives additional information that the Main Character does not receive, it is in the Objective perspective. The dramatic potentials of a story are largely created by the differential between the Objective and Main Character perspectives (though the Subjective Story and Obstacle Character perspectives are equally essential in telling a complete Grand Argument Story). At appropriate times, Dramatica aids the author in focusing his attention on the perspective that will most effectively support his dramatic intentions.