Just took another shot at this. This is very useful for me. I am vastly preferring the terms ‘inside’ and ‘outside’ to subjective and objective. I feel them more.
The Overall Story Throughline is outside (‘they”) view of story events, felt by and viewed by audience as if the events were happening to people they were concerned with, or care about, or sympathize or empathize with.
*The Enterprise is headed towards a giant space amoeba, and the entire crew is sick and getting sicker.
The Main Character Throughline is inside experience of events, felt and experienced by audience as if it were happening to them.
*If this is done right, ‘you’ disappear and you are Kirk trying to decide if you have to send Spock or McCoy to their death.
The Influence Character Throughline is the outside view of the emotional experiences happening to another character who has the way of seeing and doing things that the MC must face and contend with to grow. the Contention Character.
*Logic is the superior way to deal with the problem, and superior Vulcan endurance, not human emotion or frailty, therefore I am the logical choice to pilot the shuttle, Captain. And we must not
only survive but capture this medical data for science.
The Relationship Story Throughline is the inside view of the arguments between the MC and IC that the audience experiences as if those arguments were taking place in their own mind.
*Kirk and McCoy and Spock and their arguments about killing a new life form, the meaning of being out here in space, their chances of making it back.
STAR TREK: THE IMMUNITY SYNDROME
… I am also vastly preferring Contention Character to Impact or Influence or Obstacle. It’s the way of thinking and doing things that the MC has to content with, not the character, but the character carries it, like a virus. It doesn’t mean fight with it, it means he can’t simply ignore it and wish it away: he has to face it head on. If he doesn’t, he’s an internally dishonest character and not very interesting, at least to me.