We have described a story as a battle. The perspective that takes in the full scope of the battle is the Overall Story Throughline.

Within the fray is one special soldier through whom we experience the battle firsthand. How he fares is the Main Character Throughline.

The Main Character confronts another soldier, blocking the path. Is he friend or foe? Either way, he is an obstacle, and exploring his impact on the Main Character is the Impact Character Throughline.

The Main and Impact Characters engage in a skirmish. Main says, "Get out of my way!" and Impact says, "Change course!" In the end, the steadfast resolution of one will force the other to change. The growth of this exchange forms the Subjective Story Throughline.

Taken together, the four throughlines comprise the author's argument to the audience. They answer the questions: What does it feel like to have this problem? What's the other side of the issue? Which perspective is the most suitable for dealing with that problem? What do things look like in the "big picture?"

Only through developing these four simultaneous throughlines can the Story Mind truly reflect our own minds. We pit reason against emotion and immediate advantage against experience in the hope of resolving a problem in the most favorable manner.