Main Character Throughline

the general area in which The Main Character operates


The Main Character is that part of a story that reveals an intimate personal look at problem-solving. Covering the personal baggage that exists within the Main Character and the Main Character alone, this Throughline gives an Audience the opportunity to experience act-by-act, the process by which one goes about resolving their personal differences.

Narrative First

Main Character Throughline




  • The 2018 Academy Awards

    My experience of being able to predict the specific structural items of an Oscar-nominated film while it was running.

  • Connecting the Main Character to the Overall Story

    In this episode, I cover the importance of connecting the Main Character's problem with the Overall Story problem & a method for constructing the Narrative Argument of your story.

  • Narrative Science and the Dawning of the Singularity

    It's one thing to play God when writing a story, but wouldn't it be great if you could see what the major plot points in your story look like from the point-of-view of your characters? Well, now you can.

  • Arrival & The Zero-Sum Game

    In this episode we make the connection between Arrival and the holistic approach to story structure offered by the Dramatica theory of story.

  • The Best Picture of 2016 Doesn't Have a Story

    In this, our first episode of the second season of the Narrative First Podcast, we catch up on all things story structure & story analysis including a look into the Oscar winner for Best Picture in 2016.

  • The Crucial Element to Telling a Great Story

    In this, our final episode of the 2016 season, we discuss the most important part of any story--the intersection of the objective and subjective points-of-view.

  • Finding Your Own Unique Voice When Writing for Nanowrimo

    In this episode, we show you how to take that burning desire within your heart to be heard and apply it to a concrete and solid story structure.

  • Ex Machina Mea Culpa

    Our original analysis of Ex Machina relied on subjective interpretation and proved faulty. This updated analysis clears up those issues by taking an objective point-of-view of the film's narrative.

  • Using Dramatica to Assess Narratives in the Real World

    What's more exciting...Narrative First hiring its first employees, or a real world example of the Dramatica theory of story actually predicting the future?! You decide...

  • 9 Steps Towards Telling Your Story

    Following up last week's conversation regarding what it takes to transform real life into an actual story, we now take time out to cover the first steps you want to take when building that narrative.

  • Transforming Real Life Into A Story and Disney's Moana

    In addition to discussing advanced techniques for turning the real world into a full functional narrative, we take time out to discuss all things story with the Head of Story for Disney's upcoming animated feature, Moana--Dave Pimentel.

  • Star Trek: The Case for Writing a Screenplay with Dramatica

    In this episode we explore the magic behind the Dramatica theory of story and why it worked wonders for the first Star Trek reboot in why didn't they use it again for Star Trek:Beyond?


Official Dramatica® Definition:

Everything the Main Character does and represents that primarily relates to him alone, as opposed to specific relationships he has with other characters, can be said to be part of the Main Character Throughline. There are four different perspectives in the structure of any story represented by the combination of each of the four Classes with each of the four Throughlines: the Overall Story Throughline, the Relationship Story Throughline, the Impact Character Throughline, and the Main Character Throughline. The Main Character Throughline describes in the broadest single term what the Main Character represents and the area in which the Main Character operates within the story.