Disnarrated — Gerald Prince’s term for what a narrative reports as not having happened: the imagined, feared, rehearsed or explicitly denied event. The basis of the subjunctive scene. §6.3 (mode 13).
Dramatisation — Rendering an occurrence such that narrative time approximates story time. Defined here by duration rather than by the presence of dialogue, action or sensory detail. §3.3.
Extraction test — Removing a scene to determine what the reader would fail to learn, feel or anticipate, and which later scene becomes unearned. §7.1, test 4.
Focalisation — Bal’s and Genette’s term for the perspective through which narrative material is perceived, distinguished from the voice that narrates it. Determines whose scene a scene is. §3.4.
Interiorised scene — A scene whose duration is governed by the pace of thought rather than of action; consciousness rendered at scene speed. §6.3 (mode 9), §9.8.
Kernel / satellite — Chatman’s terms (after Barthes’s noyaux and catalysers) for events that branch the story and events that amplify a path already taken. §3.4.
Proairetic code — Barthes’s code of actions: the reader’s recognition of a sequence of gestures as a nameable action with a knowable completion. The mechanism of scene-level expectation. §3.4.
Pseudo-iterative — Genette’s term for passages narrated in the iterative whose detail is too particular to have recurred. §6.2, §6.3 (mode 7).
Relational domain — This chapter’s proposed fifth domain: the state of a relationship — trust, power, obligation, intimacy, debt, hostility — considered as an independently shiftable value. §4.5.
Scene — A unit of story in which a character pursues a concrete immediate objective against resistance, rendered in approximately real time, such that the state of the story is different at its close. §2.1.
Sequel — In Swain’s model, the reflective unit following a scene: reaction, dilemma, decision. Treated in full in Chapter 2 (Scene and Sequel). §6.6.
Situation model — In discourse psychology, the reader’s mental representation of the state of affairs a text describes, tracked across dimensions of protagonist, space, time, causality and intentionality. §3.5.
Value shift — McKee’s term for the movement of a charged value from one pole towards its opposite across a scene. The chapter’s central diagnostic. §3.7.