Three-Act Progressions

With six thematic Sequences and three dynamic Acts, it is not surprising that we find two Sequences each Act. In fact, this is part of what makes an Act Break feel like an Act Break. It is the simultaneous closure of a Plot Progression and a Theme Progression. The order in which the six thematic sequences occur does not affect the message of a story, but it does determine the thematic experience for the audience as the story unfolds. The only constraints on order would be that since the Issue is the heart of the thematic argument, one of the three pairs containing the Issue should appear in each of the three dynamic Acts. Any one of the other three pairs can be the other Sequence.

Four-Act Progressions

The three dynamic Acts or Journeys in a throughline's plot represent the experience of traversing the road through the story's issues. The four structural Acts are more like a map of the terrain. Therefore, we associate Types directly with a structural kind of thematic Sequence.

Beneath each Type is a quad of four Variations. Structurally, we examine or judge the Act representing each Type by the four Variations beneath it. In our current example, the Act dealing with Obtaining would be examined in terms of Morality, Self-Interest, Attitude, and Approach. The difference between this and the thematic sequences we have just explored is that we judge Obtaining by each Variation in the quad separately, rather than comparing each Variation with the other Variations in the quad. It is an upward looking evaluation, rather than a sideways looking evaluation.

In this manner, we make a thematic statement about the subject matter of concern in each of the four structural Acts. The six Sequences form an argument about the appropriateness of different value standards.