Re-Imagining the Key Relationship of Any Story

Measuring the dynamics of growth by the space in-between characters.

In my twelve years of coaching and educating writers both professional and amateur, one common trait stands out: no one understands relationships. They know conflict and plot. They know character and theme. And they know how to put it all together to create something engaging and compelling for bringing to end. But they’re missing one piece.

Very few appreciate the conflict, plot, and theme that exists between characters.

Since its inception in 1994, the Dramatica theory of story taught that the critical relationship in a complete narrative, the “heart” of a story, was an emotional argument between the Main Character and Obstacle Character. This Relationship Story Throughline (once labeled the Main vs. Impact Story Throughline) pits the two principal characters against each other within an imagined philosophical battleground. Seen as a shortcut towards introducing groundbreaking concepts to the narrative discussion, this reductive take on the relationship dynamic led many writers astray—and even more to discount the theory altogether.

How could the romance between Indiana Jones and Marion be anything less than the emotional heart-center of Raiders of the Lost Ark? How could the friendship between Doc and Marty in Back to the Future be left out of similar discussions? With the Main vs. Impact litmus test, both of these critical relationships fail to meet what we all introvert know: emotional importance.

This series of articles on The Relationship Story changes all of that. By realigning our appreciation of narrative to original core concepts of Dramatica, and adding in practical experience building out meaningful stories with writers across all genres, we open up new frontiers of understanding story.

The Perspectives of Story

The Relationship Story Throughline is not the relationship between the Main Character and the Obstacle Character. The Relationship Story Throughline perspective is an emergent property of the consciousness of the Storymind—something not present within the unique aspects of I or You.

Emergence occurs when an entity is observed to have properties its parts do not have on their own.

The Relationship Story Throughline perspective is We.

And We are neither You nor I.

For many, this concept of splitting hairs around notions of subjectivity may appear overly complicated and semantic. For others, it may seem an impossibility to hold a We perspective that does not include self. I’m here to tell you that this complexity is both necessary and possible—particularly if you want to access the real emotional heart of your story.

It might even help you in your own relationships.

The Usual Suspects of Subjectivity

The original Dramatica theory book wasn’t wrong. More often than not this property does turn out to be the dynamic between the Main and Obstacle Character Players. The mentorship between Ben and Luke in Star Wars. The romance between Rick and Ilsa in Casablanca. The contentious friendship between Rus and Marty in True Detective: Season One.

While these couples indeed find time to argue, their relationship is not an argument. In fact, their relationship is 1/4 of the story’s argument—1/4 of the premise. Their disagreements and the basis for their point-of-view finds a home in other quarters.

The Four Throughlines of a complete narrative describe the perspectives of the single argument of the story. Characters and the relationships between them exist to hold and convey these points of view to the Audience. This arrangement allows Authors the opportunity to hand-off a perspective from one character to the next.

The classic example lies with the Ghosts in Dicken’s A Christmas Carol. One by one, and starting with Marley, the Ghosts relay their common perspective of influence on Scrooge. Looking back over the narrative retrospect, these four Ghosts act as one collective Obstacle Character.

The same possibility exists within the Relationship Story Throughline perspective.

Handing Off the Heart of a Story

The emotional core of Good Will Hunting dwells in the Therapeutic relationship between Will and Sean. The two share an intimate bond and grow from patient/therapist to close friends. Yet, another relationship exists within the film that shares a similar and meaningful friendship.

The Friendship between Will and Chuckie (Ben Affleck) carries the same thematic elements found in the Therapeutic Relationship. The do-or-die brotherhood that finds them fighting on the basketball court to protect each other also puts them at odds over each other’s personal survival. And their shared acknowledgment that their relationship had purpose resolves their differences—with heartfelt emotion.

The Friendship felt between both couples exists outside of any central plot development. Tangential to the objective concerns of a math genius hiding out as a janitor, these relationships reflect the importance of growth and understanding in the development of friendships.

And that’s why it’s essential to stop thinking of the Relationship Story Throughline in terms of an emotional argument.

The real purpose of the Relationship Story Throughline is to shine a light on the importance of growth between us in the real world—a chance to viscerally feel and understand this dynamic as we work to resolve the inequities in our lives.

Stories offer us an opportunity to appreciate our own conflicts. While we operate in a palpable sense in the real world, and while we have our own subjective personal issues, the subjective dynamics of growth that exist beyond us as individuals is equally as crucial to understanding our experience. Some might even say more important.

The more connected we become, the more essential it becomes for us to appreciate the dynamics at play between us. This newfound understanding of the Relationship Story Throughline of a narrative draws one step closer to understanding the purpose—and intent—of our relationships with one another.

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