There are almost as many theories about how to create and evaluate a story as there are stories.
One of these theories -- called Dramatica -- comes packaged as a website, a book or two, a slew of classes and workshops, and some (outdated, tired-looking, badly in need of a facelift) software. While I don't buy into every claim the creators of Dramatica theory make (I don't believe, for example, that their theory reflects secret truths about brain structure or the underlying structure of the universe), I have found some of their ideas useful.
One of the most useful ideas Dramatica theory teaches is this: every complete and satisfying story is, in fact, four stories (or, more precisely, the same story told from four different points of view):
1) The Overall Story. This is the story as seen from the highest possible point of view: the Big Picture, or the basis for those summaries you see in T.V. Guide. For Star Wars, the OS storyline might be: "A group of rebels seeks to destroy an evil empire's weapon of mass destruction."
2) The Main Character Story. This is the story as seen through the eyes of the Main Character: the first-person point of view, focused on one character's experience and transformation (or lack of transformation). For Star Wars, the MC storyline might be: "A frustrated farm boy longs to become a heroic warrior."
3) The Impact Character Story. The Impact Character opposes the Main Character at every point along the way, suggesting that the best course of action is to change course. For Star Wars, the IC storyline might be: "An urgent message summons a reclusive Jedi out of retirement."
4) The Main vs. Impact Story. This is the emotional channel of a story -- the interaction between the Main and Impact Characters. For Star Wars, it might be: "An experienced Jedi tries to teach a headstrong farm boy to give up control and trust the Force."
As part of the prep work and outlining for Husbands and Lies, I'm working through the four storylines. The OS storyline is easy: "A dream vacation becomes a comic nightmare for a volatile group of friends."
Then there's the MC story: "A wishy-washy man must choose between the love of his life and the college fantasy who got away."
And the IC story: "An evil genius creates an elaborate trap for the object of his affections."
And, finally, the MC vs. IC story: "The battle for the affections of a partnered man teaches everyone involved a lesson about what marriage really means."
Soon, I'll be posting some outlines that reference the four storylines within Husbands and Lies, so I wanted to post this little explanatory note ahead of time.
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