The Four Throughlines

It is not enough, however, to develop a complete Story Mind. That only creates the argument the audience will be considering. Equally important is how the audience is positioned relative to that argument.

Does an author want the audience to examine a problem dispassionately or to experience what it is like to have that problem? Is it more important to explore a possible solution or to weigh the benefits and drawbacks of alternative solutions? In fact, all of these points of view must be developed for a story to be complete.

An author's argument must go beyond telling audience members what to look at. I must also show them how to see it. It is the relationship between object and observer that creates perspective, and in stories, perspective creates meaning.

There are four different perspectives which must be explored as a story unfolds in order to present all sides of the issue at the heart of a story. They are the Objective Story Throughline, the Main Character Throughline, theObstacle Character Throughline, and theSubjective Story Throughline.

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