I have a somewhat technical question: why, when MC and OS throughline are aligned horizontally (external - Situation and Activity--or internal - Manipulation and Fixed Attitude), the story engine proposes Growth: Stop, and when they are aligned vertically (internal/external - Situation and Manipulation or Activity and Fixed Attitude) it proposes Growth: Start? Why, when the OS is in a domain opposite to the MC Throughline, we should expect from him something to start? Why, when the OS is in the same domain than the MC Throughline, we should expect from him as something stops? I mean what does that really mean dramaturgically?

Serious MC personal problems cannot be solved by adopting the MC Solution because the MC is blind to the problem, the solution, and for Change MCs both the problem and the solution. In order to get to the point where a MC has the option to change or remain steadfast, he must grow past the blinders or pressures that prevent him from recognizing both options open to him: the path he has always followed (represented by the MC Symptom and MC Response), and the path not chosen (represented by the MC Problem and MC Solution).

The IC embodies that alternative path, which is why the IC has influence/impact on the MC as the MC struggles with his personal problems. In a simple sense, when the MC and OS are in a horizontal (companion pair) relationship, their perspectives on the inequity at the heart of the story are more similar than not. Since conflict exists in that relative spatial relationship, the MC's personal problems are alike to the bigger issue and the MC's grows by learning to step away, step back, or just stop his bad behavior before he may seriously consider the IC's approach as a possible solution to his own problems.

Conversely, when the MC and OS are in a vertical (dependent pair) relationship, their perspectives on the inequity at the heart of the story are about as dissimilar as they can be. For this reason, the MC¹s growth requires him to step forward, step up, or just start doing what he knows should be done before he may seriously consider the IC's approach as a possible solution to his own problems. As the story unwinds over time, the relative positions and/or tensions move.

Melanie and I recognized these patterns once we created the Dramatica quad structure and mapped the story points onto the structure, both spatially and temporally. A storyform represents a process and a set of states. The state of the storyform pattern at the beginning of the story is different than at the end, and the comparison of the MC Resolve indicates the relative positions of those to states: Change or Steadfast. The MC growth represents the process that the MC goes through from the beginning state to the end state. I hope that sufficiently explains what it is and why we describe it the way we did.

Does it 'twist' some part of the structure? Using my story and as well as made-up input, the only way I can get a 'Positive Feel' is to change the Judgment to Bad. 'BAD' works regardless of Success/Failure, Stop/Start, or anything else I've tried. From what I've read I assumed Bad + Failure AND Good + Success would be 'Positive.' What besides Good/Bad influences the 'Feeling'?

The combination of MC Growth (Stop or Start) and Judgment (Good or Bad) are the basis for the audience appreciation, Essence. The idea of 'negative' and 'positive' in this context describes how the story feels. A positive story is one where the characters are doggedly pursuing a solution to their troubles -- they seem to be in control. A negative story is one in which the problem is dogging the characters as they attempt to escape its effects -- they seem to be at the mercy of the problem.

• Stop something Good, or Start something Bad = Negative
• Start something Good, or Stop something Bad = Positive

Again, negative and positive in this context do NOT mean bad and good. Detailed definitions can be found in the dictionary:

• Negative Feel
• Positive Feel

Dramatica's Main Character Growth (Stop/Start) differs depending on the MC Resolve.

For CHANGE Main Characters, the growth is seen to be internal--that's why the MC changes. A STOP change character's growth comes from stopping a behavior, growing out of it so to speak. A START change character's growth comes from starting a behavior, growing into it so to speak. That's why a stop character seems to have a chip on his/her shoulder, while a start character seems to have a hole in his/her heart.

For STEADFAST Main Characters, the growth is more directly tied to the external. A STOP steadfast character's growth comes from holding out for something external to stop. A START steadfast character's growth comes from holding out for something to begin. That's why a stop steadfast character seems to suffering a barrage of bad events, while a start steadfast character seems to hanging out waiting for something good to happen to them.

The Main Character's Growth could go either way for me. How can I choose which direction is correct for my story?

Choosing your Main Character's Growth, Stop or Start, is much like asking if a glass is half empty or half full. A Stop story focuses attention on a "half full" Main Character that needs to be emptied. A Start story focuses attention of a "half empty" Main Character that needs to be filled. Attention to what is there or what is missing helps your audience understand how a Main Character must develop in order for her to Change or remain Steadfast in her Resolve.