Understanding the Independence of Throughlines in Story Structure

one inequity, four perspectives, zero cause-and-effect

Some story structure questions take you deep into the heart of what makes a narrative work. And when you get those lightbulb moments—where a single concept unlocks a whole new level of understanding—well, that’s the good stuff.

A recent discussion with a writer about Subtxt’s Muse led to exactly this kind of breakthrough. The question:

How do different Throughlines interact with the same inequity in a story?

It’s a great question, and the answer reveals something fundamental about how stories function at a structural level.

The One Inequity That Shapes It All

At its core, every story is an exploration of a single inequity—just appreciated from different perspectives. The entire model of narrative is built on this concept.

• The Objective Story (OS) Issue is one way of looking at the inequity.
• The Pivotal Elements (defining the Main Character and Obstacle Character’s stakes) are another way.
• The inequity is present throughout the whole framework—each part of the Storyform is just a different lens on it.

It’s easy to see the inequity in the space between the Main Character (MC) and Obstacle Character (OC), since their perspectives are in direct opposition. But that tension isn’t the cause of the inequity—it’s just the most personal manifestation of it. The OS Issue, on the other hand, reveals how the inequity plays out for everyone in the story. It’s not separate from the central conflict—it’s just a different way of appreciating the same problem.

This is why the death of a Main Character or Obstacle Character doesn’t automatically "solve" the story’s problem. They aren’t causing the inequity; they’re personifications of it at the character level. What matters is whether the narrative itself resolves the inequity—or leaves it unresolved.

No Throughline Causes Another to Change

One of the biggest misconceptions about story structure is the idea that one Throughline directly affects or alters another. That’s not how stories function structurally.

• The Objective Story Throughline is just that—objective. It doesn’t shift based on personal character growth.
• The Main Character Throughline follows the MC’s internal journey from Problem to Solution (or lack thereof).
• The Relationship Story Throughline evolves as (typically) the MC and OC interact through a meaningful relationship.

Each of these Throughlines exists independently, even though they are all different ways of exploring the same central inequity.

The Key Takeaway

• A Relinquished Main Character shifts from Problem to Solution in their Main Character Throughline.
• The Maintained Obstacle Character stays steadfast in their OC Throughline (or vice versa).
• The Objective Story Throughline describes the roles characters play in the story’s broader conflict—it doesn’t track personal transformation.

A Clear Example: First Blood

A great example of this independence in action is John Rambo in First Blood.

• As the Main Character, Rambo undergoes a shift from Proaction to Reaction—his biggest issue is the lack of Proaction on the point of those who could see that Vietnam veterans were hurting. By the end of the story, he relinquishes that problem with Proaction.
• However, in the Objective Story, his role remains Reaction the entire time. No matter what personal changes he undergoes, the way he functions in the larger narrative framework remains constant from beginning to end.

And yet, First Blood still stands as an all-time classic in the action movie hall of fame. That’s because the Objective Story isn’t tracking his personal transformation—it’s tracking the broader conflict of the film. His shift as a Main Character doesn’t alter his role in the larger story structure, yet it does give us something to hold onto emotionally.

No Throughline Causes Another to Change

So even if it seems like a Relinquished MC suddenly adopts the OS counterpart’s perspective, that’s an apparent similarity, not an actual structural shift. The Change happens in the Main Character Throughline, not in the OS.

Each Throughline offers a unique way of appreciating the same core inequity, but they remain structurally independent.

And once you see this, you’ll never look at story structure the same way again.

Want to explore this concept further? Muse in Subtxt is here to help guide you through your narrative with intelligent, story-savvy insights. And if you find yourself diving deeper than you ever expected—well, you’re in good company.