How to Classify the Atomic Elements of Story Structure

Writing narrative events with intention and meaning

Effective story structure is more than an outline of what happens. For the order to mean something beyond the superficial, it must communicate something intrinsic to both the order and relationship between individual Storybeats. Knowing the elemental nature of events grants the purposeful writer a unique ability unheard of in other explorations of narrative structure.

The previous article Writing Perfect Scene Structure with Dramatica, explores the atomic classifications present within a Dramatica storyform. Subtxt's recent addition of these classifications (Modalities) keys writers into the essential nature of every Storybeat in their stories. Whether at the Scene-level present in Atomic Beats or at the larger scale of Act-level Transit Storybeats, these Modalities grant meaning to what would otherwise be yet another template to follow mindlessly.

The current Narrative Engine in Subtxt (March 2021(c)) applies three sets of classifications to every single Storybeat:

• Material (Universe, Activity, Mentality, Standpoint)
• Spatial (Potential, Resistance, Current, Power)
• Temporal (Growth (1), Expansion (2), Transformation (3), Transcendence (4))

The 4th (PASS), primarily Storytelling, exists solely within the writer's subjective opinion.

Potential, Resistance, Current, Power

• Potential simply means a latent tendency toward some attitude or action.
• Resistance simply means a tendency toward inertia.
• Current simply means the flow of a process.
• Power simply means the effect of a process.

The Shawshank Redemption - Main Character Throughline

Red sneaks in contraband for inmates while telling the review board he's a changed man. Clearly, he's not. He feigns reconciliation while continuing to play the role of a minor criminal. Returning to circulation, he continues his illegal operations while looking the other way when Andy asks for help. (Being - (Activity) - Resistance, Growth (1))

Red's mentality is one of flowing with the changes without any real direction or purpose. Change comes, but without a true transformation, it looks like he's simply taking advantage of a convenient situation. (Becoming - (Mentality) - Current, Expansion (2))

Red takes a stand with the new arrival when it comes to helping Andy. Red knows the effect institutionalized thinking has on a man and councils the boy against getting the wrong idea--an observation that is clearly a projection. (Conceiving - (Standpoint) - Power, Transformation (3))

Red has always had a latent tendency towards rebellion. Whether as a young man or trapped for decades in Shawshank, Red was on the run from the law--a fugitive from oppressive thinking. Breaking parole and escaping the country is just a matter of Red figuring out that place in the world he always had. (Conceptualizing - (Universe) - Potential, Transcendence (4))

Star Wars - Objective Story Throughline

The Empire illegally boards a diplomatic ship—a diplomatic ship smuggling stolen plans to aid a rebellion. Both good and bad find themselves caught within the inertia of war. (Doing - (Activity) - Resistance, Growth (1))

The princess refuses to break during her interrogations, while the Antagonist refuses to back down from his belief that she will. Their interactions reveal the latent and contradictory belief systems between those who rebel and those who enforce. In addition, the group of rescuers reveals their latent beliefs on how best to fight as the young neophyte begins to learn the old ways. (Learning - (Standpoint) - Potential, Expansion (2))

This flow of warring against one another makes its way into the Rebel group--their different mentalities encouraging in-fighting as they rescue the princess. Once rescued, her mentality only increases the arguing, almost leading to their capture. (Obtaining - (Mentality) - Current, Transformation (3))

The Empire's battle station moves into position to destroy the Rebel base—the effect of all the fighting between good and bad (the "star wars"). The Rebels find themselves coming out on top when the effect of all their in-fighting leads to a greater appreciation of how best to win the fight. (Understanding - (Universe) - Power, Transcendence (4))

Growth (1), Expansion (2), Transformation (3), Transcendence (4)

The definitions for the Spatial Modalities (Potential, Resistance, Current, and Power) appear in the original Dramatica theory book. While hinted at in various places, the Temporal Modalities (1234) are absent, or simply missing, from the final publication.

Using the same format as found in the Definition section of Dramatica, here are the Temporal Progressions of a Cycle:

NOTE: In the original version of this article, and elsewhere in Subtxt and Narrative First, you may find these appearing as Renewal, Living, Dying, Death. And while those accurately encapsulate the progression of cycles from a Male perspective, they tend to alienate those coming from a Holistic perspective (where Death is rarely a consideration--at least, not in the traditional sense). The Temporal Modalities are meant to tap into an understanding of cycles from the Holistic perspective, and so we put them front and center.

The original incarnations, along with others, are left as synonyms beneath each definition.

Growth (1) -- [Dynamic Term] -- One way to measure the relationship of the items in a quad is to classify them as progressions of a cycle, or Growth, Expansion, Transformation, and Transcendence (or 1234). In this manner, we can see how dramatic components progress and evolve over the course of a story. While more objective in nature, the sequence 1234 suggests an order, emphasizing 1 as "first" and 4 as "last"--this is not the meaning of these classifications. When looking at a quad of items as cyclical progressions, there is no beginning and no end--thus, the application of more subjective terminology: Growth, Expansion, Transformation, and Transcendence. Growth here is meant to refer to the directional aspect of a cycle, not a specific attachment to what it means to be “renewed” or "re-born." Growth simply means the recognition of a directional aspect within a cycle. Often interpreted as a "renewal" or "birth," it is not necessarily the start of something new. In fact, until a Transcendence (4) is seen in contrast with Growth, it ceases to be anything other than simply Expansion. So in a quad, assigning one of the items as Growth does not mean it is simply first. Instead, it depends on Transcendence to detatch from simply Transformation (resulting in breaking the cycle) to give Growth any appreciable meaning. This is a useful tool for Authors since it allows for the subtle relationship of unused, inferred, manifested, or anticipated dramatic interactions that shape the fabric of a story in ways that call to mind growth.

syn: renewal, re-birth, Spring, sister

Expansion (2) -- [Dynamic Term] -- One way to measure the relationship of the items in a quad is to classify them as progressions of a cycle, or Growth, Expansion, Transformation, and Transcendence (or 1234). In this manner, we can see how dramatic components progress and evolve over the course of a story. While more objective in nature, the sequence 1234 suggests an order, emphasizing 1 as "first" and 4 as "last"--this is not the meaning of these classifications. When looking at a quad of items as cyclical progressions, there is no beginning and no end--thus, the application of more subjective terminology: Growth, Expansion, Transformation, and Transcendence. Expansion here is meant to refer to the exploration of options within a growth cycle. Expansion simply means the embodiment of the cycle, and a reaching out. Without exploration, ennui sets in, and the experience of growth becomes meaningless. It is only once seen in contrast to Transformation that Expansion begins to take on some appreciable meaning as the options for purpose. This is a useful tool for Authors since it allows for the subtle relationship of unused, inferred, manifested, or anticipated dramatic interactions that shape the fabric of a story in ways that call to mind growth.

syn: living, Summer, wife

Transformation (3) -- [Dynamic Term] -- One way to measure the relationship of the items in a quad is to classify them as progressions of a cycle, or Growth, Expansion, Transformation, and Transcendence (or 1234). In this manner, we can see how dramatic components progress and evolve over the course of a story. While more objective in nature, the sequence 1234 suggests an order, emphasizing 1 as "first" and 4 as "last"--this is not the meaning of these classifications. When looking at a quad of items as cyclical progressions, there is no beginning and no end--thus, the application of more subjective terminology: Growth, Expansion, Transformation, and Transcendence. Transformation here is meant to refer to the transition of a cycle into something more purposeful. Transformation simply means the recognition of a cycle and an allowance and or/willingness towards purpose. Without purpose, growth becomes directionless. It is only once seen in contrast to Exploration that Transformation begins to take on some appreciable meaning as the purpose for all the options. This is a useful tool for Authors since it allows for the subtle relationship of unused, inferred, manifested, or anticipated dramatic interactions that shape the fabric of a story in ways that call to mind growth.

syn: dying, Fall, mother

Transcendence (4) -- [Dynamic Term] -- One way to measure the relationship of the items in a quad is to classify them as progressions of a cycle, or Growth, Expansion, Transformation, and Transcendence (or 1234). In this manner, we can see how dramatic components progress and evolve over the course of a story. While more objective in nature, the sequence 1234 suggests an order, emphasizing 1 as "first" and 4 as "last"--this is not the meaning of these classifications. When looking at a quad of items as cyclical progressions, there is no beginning and no end--thus, the application of more subjective terminology: Growth, Expansion, Transformation, and Transcendence. Transcendence here is meant to refer to the elevation of a cycle, not something "out-of-body". Transcendence simply means the recognition of a giving, in tandem with a surrender to growth. Though a Transcendence suggetss some sort of ending, it is not necessarily the end of something that once was. In fact, until Growth is seen in contrast with Transcendence, it ceases to be anything other than something different. So in a quad, assigning one of the items as Transcendence does not mean it is simply last. Instead, it depends on Growth to cease from simply Exploring (resulting in breaking the cycle) to give Transcendence any appreciable meaning. This is a useful tool for Authors since it allows for the subtle relationship of unused, inferred, manifested, or anticipated dramatic interactions that shape the fabric of a story in ways that call to mind growth.

syn: death, Winter, grandmother, transferrence, surrender, sacrifice, grace

Short Definitions

• Growth (1) simply means the recognition of a directional aspect within a cycle.
• Expansion (2) simply means the embodiment of the cycle, and a reaching out.
• Transformation (3) simply means the recognition of a cycle and an allowance and or/willingness towards purpose.
• Transcendence (4) simply means the recognition of a giving in tandem to a surrender to growth.