Finally, we have arrived at the most basic and precise level of understanding about a story's problem: The Element level. It is here we find the source of difficulties experienced in each throughline. The Overall Story Problem is something that will affect all the characters and all that they do.

In contrast, the Main Character's Problem will be the source of his drive. Eventually, it may turn out to be (or reflect) the Overall Story Problem, or have the potential to solve the Overall Story Problem, if only the Main Character can bring himself to apply it.

The Impact Character Problem is the source of his drive as well, but rather than experience it, the audience examines it from the outside. "What is driving him or her?"

Lastly, let's examine the Subjective Story Problem. Unlike the Problems in each of the other throughlines, this one is not about an item, but a relationship -- the relationship between Main and Impact Characters. What is at the heart of their disagreements? What is the most essential subject from which all their conflict grows? The Subjective Story Problem describes the most refined view of what drives (or pulls) the Main and Impact Characters apart.

At this point we have defined all the principal thematic perspectives in a story. We have determined that any Problem might be understood in terms of its Class, Type, Variation, and Element. We have further described the story's central Problem itself can never be seen directly, but is approximated by exploring how it appears from four different points of view. Each view provides its own understanding of the nature of the Problem's Class, Type, Variation, and Element. Each of these is called a story point. When all the story points are considered together in the mind of the audience, the author's bias on the issues at the heart of a story is established.

Deep Theme

What we have done so far is describe the Elements of Theme. Now we have to put them in motion as well.