So first off, since I spoke of an arc, you’re probably right that looking at Solutions gives a better picture of an arc than just a problem. And your examples look great to me. If there was a question before about whether the MC problem should be Non-acceptance or Pursuit or something else, I think you’ve done a great job of deciding on Non-acceptance and giving an in story example of it. So great work there.
The problem with looking at MC Problem/Solution, though, is that it doesn’t tell us what Domain the throughline should be in. That’s what I was hoping to get at even though I didn’t say it.
Looking at the Shawshank example, just talking about how Red Opposes the system at the end of the movie doesn’t point us to which Class his problem falls under. But if you’ve seen the movie, you know that being institutionalized is a way of thinking, a problem of Psychology (Jhull has said that Psychology is how you think and Mind is what you think). That one broad issue is what lies over all of Red’s Character level Problems of Support.
Or for another example, Miguel in Pixar’s Coco has a broader problem of being stuck in a family that hates music. His Character level Problem of Proaction doesn’t necessarily point to that, though. When he steals the guitar and gets cursed, or when he competes in the competition to play for Ernesto and almost gets caught by his family or whatever (I forget exactly what happens there, maybe gets in a fight with Hector?), those problems could have been made to look like Physics, but we already know at that point that Miguel’s broader, more general problem is that his family hates music and it’s making it difficult for him to pursue that dream.
In your story, I was hoping for something like:
-Trying to recapture his youth (Process) causes Mitch to chase dreams that will never come true (conflict)
-or Dreamimg that the girl at the bookstore might share his feelings-or to keep it from feeling too much like RS, a Desire to be loved-(Process) leads to Mitch walking away from good things he already has (Conflict).
Those examples aren’t necessarily specific events, but hopefully you can see how those problems might describe his story and can kind of hang over everything Mitch does, like the Genre of his problems. And from there we could hopefully look at the process side and start seeing a good idea of where his throughline should go. That’s what I was hoping to get to with that exercise. The reason I didn’t say that before is because I’m hoping you’ll just think about the process Mitch is dealing with in your own words and forget about the Dramatica terminology. If you keep words like Physics and Universe and Psychology in mind while you do something like this, you’ll probably end up writing specifically to that rather than just describing your idea.