The dynamic plot element node logic theorem
January 14, 1996
by Brian L. Price
Part I. Hypothesis
A story can be expressed as a
combination of three plot scopes; the master plot, the sub-plot, and
the random event (or micro-plot). A master plot consists of a dozen
or more significant scenes spread, on average, widely through the
story’s time and space. Generally, the master plot begins near
the beginning of the story and continues through to the end. The
master plot is the main story line.
The main difference between a synopsis
and an actual story is that the synopsis covers only the most
significant portions of the story, in other words, the master plot.
Thus it can be stated unequivocally that a story consists of more
than the master plot. One of these other ingredients is the
sub-plot. A sub-plot is a short story interwoven within the confines
of the master plot. Although most sub-plots are related to the main
plot, the relevence of the sub-plots vary even within the same story.
A sub-plot typically consists of less than half a dozen or so
significant scenes and is expressed in a time and space scope
significantly smaller than the master plot.
One difference between a novella and a
novel is the drastic reduction with the novella form in the number of
seemingly inconsequential events interspersed throughout main and
sub-plot alike. These events can be described as random events or
micro-plots. These micro-plots typically have a scope of only a
single scene and have only minor relevance to any sub-plot or master
plot serving mainly to add color although occasionally effecting plot
direction.
A reoccurring component of master
plot, sub-plot, and micro-plot alike is the concept of a scene. A
scene can be expressed as a story node, and a story can be viewed as
a sequence of interconnected nodes. Furthermore, these nodes can be
subdivided as to ownership by master plot, sub-plot, or micro-plot.
Each scene, or node, is composed of a collection of elements. Not
all scenes possess all elements, but all scenes are expressible as a
subset of a common set of plot elements.
A somewhat arbitrary choice of basic
plot elements can be made to form the common set of plot elements.
The current plot element node logic theorem holds that these elements
can be defined as setting, character, information, features, and
events. The element setting can be described as the physical
surroundings in which the scene occurs. The character element
consists of the characters and creatures which are within the setting
during the time the scene occurs. The information element consists
of knowledge which may be obtained by or imparted to a character from
some other element during the course of the scene.
Features are generally immovable
physical objects within the setting which have some special
significance to the plot and which may be accessed and/or activated
during the course of the scene. Events cover a wide range of
elements which may exist or occur within the scene and perhaps beyond
but which are usually beyond the control of any of the characters,
this covers elements such as weather, war, natural disaster, etc. Of
course, the scene would not be complete without resolution, that is,
the interaction between the various elements during the time frame of
the scene.
Given that:
a. Any scene can be described in
terms of a subset of the set of plot
elements together with the
interaction between them.
b. Any plot can be described as a
sequence of scenes,
c. Any story can be described as a
collection of plots.
Then any static story can be
completely described using plot element node syntax.
Assuming this to be true, a dynamic
story, that is one where the various plots have multiple possible
paths, could also be described using plot element node syntax if, and
only if, a system of logic was developed that could express the
relationships between the plot nodes in a non-deterministic form.
That is to say, a system of logic which could resolve the various
scopes, probabilities, exclusions, and dependencies between various
plot element nodes in such a way as to allow character action and
story universe mechanics to determine the plot path, and thus the
story’s evolving reality.
In a dynamic story, each plot node (or
scene) has a number of defining states or boundary conditions. A
plot node has a region of space in which it can occur, a frame of
time in which it may occur, a probability of occurrence, a uniqueness
factor, and an existence factor. A unique node may only appear at
most once in a story. An existent node’s setting and possibly its
feature(s) or characters may be revisited. Existent node events
which are of a persistent and regional or global effect will alter
the reality state of the story universe for their duration.
Still, in order to form plots,
relationships between plot nodes must be defined. The primary
relationships are: exclusion, dependance, time frame acceleration,
time frame deceleration, probability increase, and probability
decrease. That is, the transition from non-existent to existent of
one plot node will: cause the removal of all plot nodes which are
related to it by exclusion, the existence of all dependent plot
nodes, a time frame shift toward or away from the present for all
plot nodes related through time frame acceleration or deceleration,
and the alteration of the probability for future existence of all
plot nodes related by probability increase or decrease.
The primary mechanism for bringing a
plot node into existance is that of main character action and present
plot node resolution. All plot elements except setting can possibly
trigger the existance of a plot node or alter plot node boundary
conditions. A plot thread is defined by the set of possible existence triggers and dependencies within the starting plot node and
possibly at each subsequent plot node within a main or sub plot.
These triggers can be represented by a change in plot element
condition, ie the death of a character, the gaining of information,
the activation of a feature, etc.
Plots become defined as their starting
nodes come into existence and, one by one, all but one reality thread
eliminated. (A reality thread being a sequence of plot nodes.) The
relationship mechanism described herein automatically allows for
maintenance of story integrity and proper interaction between main,
sub, and micro plots. Application of this theorem to computer games
should provide sufficient dynamic plot complexity so as to prevent
most players from guessing the game future even after many replays.
Now I realize the above isn't a proper theorem, merely the first steps towards one. Likewise there has been a lot of progress in the general field, yet still the central problem I encountered 17 years ago remains today. That is, how to create a friendly and usable authorship tool usable by non programmers so that they may express dynamic stories using such a framework as hinted at above.
I look forward to hearing any comments, suggestions, advice, links, etc.
Thanks,
Brian
