the plot thickens…so the story mind matures and sees things from a different perspective.
Relationship is a character of its own. Yes. Scarlett / Rhett.
What their relationship is …is complicated.
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It was always there in the theory, just assumed to be easier to teach it as always being between Main and Influence Character. What I prefer to do now is to find structure/theme, then see what relationships fall into place. I’m almost always surprised by what I find.
For instance - building the storyform for the first season of Barry yesterday, I only put down the relationship between Barry and his acting partner, Sally. I completely forgot about the relationship between Barry and Noho Hank because I was thinking “heart” of the story - rather than the dynamic relationship between two people that grows over the course of a narrative.
The relationship between Barry and Noho actually fits the storyform better than the one between Barry and Sally.
Really fascinating stuff.
I started writing about it last month, but was quickly distracted by the past couple of week’s exploration of The Holistic Premise.
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Jim, can you clarify - are you saying that the Relationship Throughline may describe the relationship between the MC and IC, the MC and any other character, the IC and any other character, or the relationship between two other characters who are neither the MC or IC?
I read the linked BTTF article, which has the MC included in three separate relationships that cover the same StoryPoints.
I’m willing to bet that’s EXACTLY what he’s saying.
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Four years on and I still can’t write this story, or decide on a storyform, or a premise statement. 
Yes, for sure!
The perspective is ALL that matters - the perspective of We.
I cover it in that article, and have several follow-up articles on the subject already written - just got slightly distracted with developing the Holistic Premise (narrative argument) for Subtext–a Holistic Problem-Solving Style approach to “Greed leads to self-destruction.”
Now that that is winding down, I’ll circle back to this and get it up and going again.
We’re also going through all the storyforms and looking for instances where there are multiple hand-off relationships, so you’ll have more examples of this in practice.
Happened most recently with the storyform for Barry: Season One. I originally just had the relationship between Barry and Sarah, thinking it the “heart” of the story, but @JohnDusenberry aptly pointed out that the relationship between Barry and NoHo Hank PERFECTLY fits in to all the Storypoints included in that Relationship Story Throughline.
Just think of it like the hand-off for Influence Characters - the perspective is all that matters - so you can hand off the We to several different We’s.
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Scarlett & Rhett’s relationship is a turbulent romantic relationship.
This definitely makes it easier to understand Working Girl, where you have a Relationship signpost of Understanding and IC signpost of Memory for Act 1, even though Jack (Harrison Ford) doesn’t even show up until Act 2!