Yep. I think you have a good point in referring to the missing “mind”[quote=“MWollaeger, post:1, topic:2838”]
it’s a character that doesn’t have access to a mind that can motivate change.
I’ve decided to just use the RS for my planning and plotting steps and events in the story, about the relational aspects. Then, after deep-thinking it, to the point of having scenes that address that “type” of conflict, to just ignore it afterwards and get on with the story. Too much over-thinking has shortchanged my story’s progress.
In the very clear “How to Train Your Dragon” RS, you have a relationship pass off.
“In How To Train Your Dragon, Hiccup has not one, but three relationships that challenge his personal growth: his friendship with Toothless, his crush on the viking girl Astrid, and the classic father/son relationship with his headstrong father, Stoick. While there might be some hand-off of this all important Impact Character role between the first two (especially when Hiccup uses the classic You and I are both alike to describe why he couldn’t kill Toothless), it really is the relationship with his dad that is at the heart of this story. Both don’t see eye-to-eye and in traditional Steadfast Character fashion, Hiccup manages to break through Stoick’s stoic attitude. (narrative first)”
Then a paragraph later, Jim says
If there is one complaint about the story, it could be that there is too much heart. So much time is spent developing the relationship with Toothless, that there is little screen-time left to explain the Antagonist and the problem everyone is really dealing with.
In other words, this story is heavy-handed about the RS. So maybe we can identify how it works in light of this:
The re-evaluation is what they all have to end up doing. If the RS is the heart of the story, it must beat for the storymind to function.
Imagine this story without the RS developing.
Hiccup wants to be famous like his dad, but he’s a wimp. He shoots a dragon (but doesn’t become emotionally involved). He tames the dragon–but WHY? What would motivate him to do this? Let’s say he tames it so he can ride it–he uses strict measures (“breaking him” like a wild stallion) instead of being kind and learning love. No relationship. We’d stop watching the movie if it remained in the physical (“whip that beast!”) without getting into the heart of the relationship.
The overall story needs them to re-evaluate before they can conceive of a new way to live with their enemy. Stoick needs to re-evaluate his son, which he can do just by watching him fly on a dragon. But without his passion toward his son, positive or negative–the anger, the demeaning, the shame-- the victory is that much less. Hiccup’s relationship with Astrid doesn’t need to be in the story. But it takes away yet another dimension of a coming-of-age boy. You end up with a flat character who acts like a caveman, not a human being dealing with others.
So what does the RS add? It adds the meaning. The rationale for why the story showed people dealing with this difficult planet and problems on it in right and true ways.