This is Story Fanatic, a collection of articles covering story structure and analysis for
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The Impact Character within a complete story provides an alternative paradigm that challenges the Main Character to reexamine his or her own point-of-view. This can be, but most often isn’t, the Antagonist of a story. By the end of the story, either the Impact Character’s influence will have won out and the Main Character will alter their paradigm, or their influence will have strengthened the Main Character’s resolve and the Impact Character will alter their paradigm. Thus, this character is essential for a story to have meaning.
Every complete story consists of four throughlines. The Overall Story Throughline, which is an objective look at the problem affecting everyone in the story. The Main Character Throughline which obviously covers the central character with which the audience empathizes most with. The Impact Character Throughline who provides an alternate way of solving the problem at hand and a perspective different from the Main Character. Finally, there is the Subjective Story or Relationship Throughline – which covers the relationship between the Main Character and the Impact Character. Having all four of these in a story is required if the Author’s intention is to argue some greater meaning.
This central character is defined as Steadfast because during the moment of crisis, when their Resolve is most tested, they stick with their approach to solving the story’s problem. This perseverance in no way guarantees a successful outcome. It simply describes a character who maintains their tried and tested paradigm.
This central character is defined as Change because during the moment of crisis, when their Resolve is most tested, they drop their approach to solving the story’s problems and adopt a new one. This change in no way guarantees a success. It simply describes a character who trades their old paradigm for a new one.
The Story Outcome determines whether or not the Protagonist succeeded or failed in their attempts to resolve the central Story Goal. This bit of story structure focuses on the logistical “outcome” of the story. Combined with the Story Judgment, it helps to create the Meaningful Ending that every great Author aspires to.
Dramatica is the story theory to beat all other story theories. Based on the simple idea that every complete story is really an analogy to a single human mind trying to solve a problem, this revolutionary understanding explains what makes great stories so compelling. To learn more about this theory in detail, be sure to visit the Dramatica website.
At the end of every complete story, the Main Character will be faced with an important decision: either continue to solve problems the way he or she always has, or change their approach and attempt to solve the problem differently. The Main Character Resolve determines what their answer will be. If they maintain their approach they are said to be Steadfast. If they adopt a new paradigm, they are said to be Change.
Personal triumphs are stories that explore what its like to feel good about losing out. While the efforts in the primary throughline may have failed, the Main Character has grown to a point where they have overcome their own personal angst. This is why these stories are often called “bittersweet” - the good guys may have lost, but the Main Character goes home happy.
A personal tragedy exists when the Main Character is unable to resolve their own personal angst. Have they overcome that personal problem that was bugging them since the beginning? Or are they still haunted by the demons and issues that they began the story with? The latter is a personal tragedy; the former is not.
There are four major throughlines in every complete story. The Overall Story, or what is commonly referred to as the “A” story line or “headline,” often describes what the story is “all about.” It represents a very dispassionate view of the story’s problems as it steps back and looks at the characters as functions, almost like chess pieces on a board. From this perspective, names and personal problems are not as important as the character’s role and story function.
The Main Character of a story represents the audience’s personal perspective into the story. Through this perspective, we the audience get to experience what it would be like personally to experience the story’s problems. The Main Character may or may not be the Protagonist. Protagonist describes a function, whereas the Main Character describes a perspective or point-of-view.
This is the character driving the story forward; the one leading the charge towards the Story Goal. This character may or may not be the Main Character of the story. Either way, the main function of the Protagonist is to Pursue.
When the Main Character of a story also happens to be the one driving the story forward (Protagonist), he or she is considered the Hero of the story. Many story theorists/gurus collapse the concept of MC, Protagonist and Hero all into one. While this works for most stories (particularly Western film), it tends to ignore those stories where the Main Character is “along for the ride.” Separating these concepts allows for greater accuracy in analyzing and developing a story.
Every complete story needs to signify to the audience when it will be done. Stories come to an end either because the characters run out of time, or because they run out of options.
There are several different ways to end a story meaningfully. Triumphs end with scenes of joy and revelry. Tragedies culminate with characters in despair over their ultimate failure. Yet there is another kind of ending that happens somewhere in-between the two, an ending that doesn’t call upon things to be so black and white.
Aristotle tells us stories have a Beginning, Middle and End. Syd Field and Blake Snyder tell us the Second Act has a Midpoint effectively dividing it in two. The truth is, all of them are confusing the forests with trees. There are really four movements in every complete story, a reality based on the fact that the mind’s problem-solving process follows the same approach.
In order for a story to be meaningful to an audience, the plot points must be of the same type.