Key Concepts

Welcome to Subtxt, where we pioneer the practice of Objective Narrative Structure in storytelling. Unlike traditional approaches that often leave interpretation up to the audience, Subtxt equips you with the tools to craft stories with precision and clarity, ensuring that every narrative element serves a distinct purpose.

What is Objective Narrative Structure?

Objective narrative structure refers to the underlying framework of a story that remains constant, regardless of the observer's perspective. This approach treats the story as an architecture of interconnected elements—characters, themes, plot points—that function systematically to drive the narrative forward.

The components of an objective narrative structure only hold meaning in relationship to other components within the framework. The observer, by definition, sits outside of the system and therefore does not play a part in the meaning of the story.

At Subtxt, we believe that a strong narrative structure is essential for creating stories that are not only engaging but also meaningful and consistent. By focusing on the objective aspects of storytelling, we help creators develop narratives that resonate universally, transcending individual interpretations and personal biases.

Why Choose the Objective Approach?

Choosing an objective approach to narrative structure offers several key advantages:

• Consistency: Ensures that the story's core message is clear and unaffected by varying interpretations.
• Depth: Builds layers of meaning that are discovered through the deliberate interaction of narrative elements.
• Impact: Produces stories that are emotionally and intellectually compelling across different audiences.

How Subtxt Empowers You

Subtxt provides a suite of tools and resources designed to guide you through the process of building and analyzing stories using objective narrative structure. From crafting character arcs to weaving complex thematic elements, our platform supports you every step of the way.

We invite you to explore the power of objective narrative structure with Subtxt. Whether you're a seasoned writer or a newcomer to storytelling, our tools are here to help you craft stories that not only entertain but also endure.

Made for Authors

Subtxt is a tool for Authors, not for characters.

When you see something like a “Story Goal” know that, while characters may sometimes be aware of this Goal, it’s really about setting the goals you as Author have for the story.

When applying the following concepts to your story, think like an analyst, or as if getting feedback from a reader. This helps you maintain an objective viewpoint in your Storytelling, free from the subjective biases and confusion that often arise from traditional character or audience-based perspectives of story structure (like Hero’s Journey or Save the Cat!).

This objective approach to building your story is key to effectively using Subtxt in your writing.

Subject Matter is Not Conflict

As you begin your journey into narrative creation, there's a fundamental understanding you must internalize - an understanding that's as essential to your craft as breathing. Whether you choose to use Subtxt or another tool, always keep this vital principle at the forefront of your mind:

Subject Matter is not Conflict.

Numerous writers start with an aspiration to craft stories about profound themes: love, heartbreak, caste systems, war. Yet, they often find themselves abandoning their projects midway, feeling directionless and disillusioned. Why? Because they mistakenly equate Subject Matter with Conflict.

Heartbreak, caste systems--these subjects are rife with potential conflict, but they are not conflict in themselves. Conflict lies beneath the surface, in the undercurrents that drive these themes. This underlying tension, this dynamism, is what we call the Subtxt of your Subject Matter.

For instance, heartbreak is a consequence of conflict, but what was the actual trigger? Was it a restless pursuit of novelty, a persistent feeling of inadequacy, or a perceived transgression by one party?

Similarly, caste systems don't inherently embody conflict. In fact, they often represent the avoidance of conflict, neatly segmenting society into distinct categories. But the harmony or discord they bring is contingent on perspective. Some people may find comfort and order in caste systems, while others feel oppressed.

Your opinion, or the Subject Matter, is not Conflict.

Consider a caste system implemented to orchestrate individual efforts for collective welfare. Now, there's an inherent conflict: the tug-of-war between control and freedom. The compelling narrative then becomes whether the journey towards freedom is truly beneficial for all, or if the system of control is a necessary evil for survival.

That's a story.

Identifying a Source of Conflict

To craft a compelling narrative, it's crucial to pinpoint the specific source of conflict. Methods are more than just templates--they pinpoint the origin of conflict in your story.

One way to establish regardless of whether you have effectively illustrated a source of conflict for your story is to ask, “If I remove this, would there still be a problem?” If the answer is yes, then you likely have not identified the true source of conflict for this aspect of your narrative.

If yes, then you know you are on your way towards effectively illustrating this aspect.

In the above example with Scrooge, if he were to suddenly have a more altruistic and nicer attitude (effectively removing the "having a bad attitude"), he would no longer suffer anymore of the isloation issues that affect him personally.

This is a good indication that the source of conflict in Scrooge's MC Throughline is Mind.

"Why is this a Problem?"

The second most important concept to understand (just right behind the idea that Subject Matter is not Conflict) is the focus on the Source of Conflict.

Throughout Subtxt you will find many aspects of narrative, Storypoints and Storybeats, that point to very specific instances of theme. A Story Goal of Obtaining, a Main Character Problem of Faith, and a Story Driver of Action are just a few of the many aspects of narrative available to you while building a story in Subtxt.

With ALL of these, you want to make sure you focus on illustrating them as sources of conflict, not instances of storytelling. For example, illustrating a Story Goal of Obtaining as "the adventurers want to Obtain a treasure trove of jewels" is anemic when compared to illustrating why the act of Obtaining the treasure trove is a problem for everyone involved.

That's what separates a great story, from a "Mad-libs" one-button push AI-generated story.

Subtxt, and Subtxt Muse in particular, are designed to get you to the source.

Finding the Source of Conflict 💪

When working on developing a story in Subtxt, regardless of what aspect (Storypoints or Storybeats), you always want to be asking "Why is this a problem?". Approaching a Storyform this way makes sure you avoid the "Mad-libs" approach to story structure. If you're having trouble figuring out how to do this in your story, just ask Muse...

Muse Transcript

The following is my illustration for OS Concern of Obtaining: “Everybody wants to Obtain the identity of the murderer or keep their own secrets from being obtained” can you help me answer the question why this is a problem for everyone in my story?

Sure, James! 😊

To illustrate why "Everybody wants to Obtain the identity of the murderer or keep their own secrets from being obtained" is a problem for everyone in your story, we need to delve into the specific conflicts that arise from this situation.

1. Fear and Suspicion: The murderer's identity being unknown creates a climate of fear and suspicion among the characters. They don't know who to trust, which strains relationships and hinders cooperation.
2. Self-Preservation: Those with secrets fear exposure. This fear could lead them to take drastic actions to protect their secrets, causing further conflict.
3. Justice vs. Safety: Some characters might want to reveal the murderer for justice's sake, but fear retaliation. This internal conflict could lead to paralysis, indecision, or risky behavior.
4. Power Dynamics: The information about the murderer's identity is a form of power. Those who might know something could use this information to manipulate others or gain advantages, leading to power struggles and conflict.
5. Disruption of Normalcy: The need to find the murderer disrupts everyone's normal routines and sense of safety. This disruption could lead to stress, mistakes, and conflict as characters are pushed out of their comfort zones.

Does this help clarify why this OS Concern of Obtaining is a problem for everyone in your story, James? 😊

Wow! Absolutely!!

I'm glad to hear that, James! 😊 If you have any more questions or need further assistance with your story, feel free to ask. Happy writing!

Just one of those five ideas would work, but having a mix of 2-3 of them will make your story sing!

Each of them illustrates why Obtaining is a problem for everyone in the story. Remember, it's not enough to simply think "they're Obtaining the identity of a murderer", you have to go that extra step and explain why the process of Obtaining that identity is a problem (and thus, explain why it is a Source of Conflict).

Going the Extra Distance

To continue, Muse also makes it easy to experiment with different ideas for your story.

For example, if I wanted to try a different set of ideas from the first response, I could select the Edit Request button (the "pencil" icon next to my previous request), and re-write my request. I can cherry-pick the idea I like, and have Muse quickly spin up another potential story.

Muse Transcript

I like #1, #2, and #5. my story is set in 1910 Paris. can you write me a couple of paragraphs illustrating these ideas as part of the story?

Absolutely, James! Here's how these ideas could play out in your 1910 Paris setting:

In the heart of Paris, 1910, the city of lights has been plunged into shadows of fear and suspicion. The news of a murderer on the loose has spread like wildfire, turning the once vibrant city into a place of dread. The once bustling cafés and lively streets are now filled with hushed whispers and suspicious glances. Trust, a once common currency, has become a rare commodity. Friends regard each other warily, and strangers are given a wide berth. The city's social fabric is strained, threatening to tear at the seams.

Meanwhile, secrets that have been carefully guarded are now under threat. The city's elite, who once reveled in their opulent soirées and grand balls, now find themselves under scrutiny. Every action, every word, is analyzed for hidden meanings. The fear of exposure has them on edge, leading to hasty decisions and alliances of convenience. The glittering façade of the high society is starting to crack, revealing the rot underneath.

The daily life of Parisians has been disrupted. The markets are less crowded, the Seine less lively. The pursuit of the murderer has become an obsession, overshadowing the simple joys of life. The city's rhythm has been disrupted, replaced by a palpable tension. The once carefree Parisian spirit has been replaced by a sense of urgency and fear. The city, known for its joie de vivre, now holds its breath, waiting for the storm to pass.

Note how Muse took the ideas of Obtaining as a source of conflict ("Fear and Suspicion", "Self-preservation", and "Disruption of Normalcy") and used those as a basis for a compelling and intriguing mystery thriller.

If instead, I wanted to try yet a different story, I could again select the Edit Request button, and ask Muse to concentrate on only one of the ideas.

In this example, I focused on the "Power Dynamics" idea and how Obtaining as a Concern for all involved in the Objective Story Throughline (the plot) would come into conflict over these power plays:

Muse Transcript

I like #4. my story is set in 1910 Paris. can you write me a paragraph or two illustrating this idea as part of the story?

Absolutely, James! Here's an illustration of the power dynamics in your 191 Paris setting:

In the heart of 191 Paris, the city of lights is shrouded in darkness as a murderer walks its cobblestone streets. The identity of the murderer has become a coveted piece of information, a secret key to power in the intricate social hierarchy of Parisian society. Aristocrats, merchants, and even the city's underbelly vie for this knowledge, not just to bring the murderer to justice, but to leverage it for their own ends.

Take, for instance, the influential Henri Lavigne. He's convinced that the murderer is a rival noble, and seeks to unmask him not out of a sense of justice, but to disgrace his rival and ascend in the court's favor. Meanwhile, in the bustling markets of Le Marais, whispers of the murderer's identity are traded like currency, with merchants using hints and rumors to draw in customers eager for the latest gossip. Even the city's thieves and pickpockets are drawn into the game, pilfering letters and eavesdropping on conversations in the hope of stumbling upon the murderer's identity, a secret that could be their ticket out of the slums.

In this atmosphere of intrigue and power plays, the quest to obtain the murderer's identity becomes a dangerous game, where alliances shift, trust is a scarce commodity, and everyone has something to hide. The city of lights has become a city of shadows, where information is power, and power is survival.

And this is just ONE Storypoint out of the possible 70+ in a complete Storyform! You could use this approach for every aspect of your narrative's structure, and play around with different ideas for storytelling, until you develop the story that speaks most to you. 😃

Methods and Illustrations

Methods represent the various processes and techniques utilized by Subtxt in crafting a complete narrative argument. These Methods are dynamic and function as active narrative engines.

When considering different Methods, it can be helpful to think of them in terms of "engines of conflict", e.g. Past becomes Past-ing.

Illustrations are a bridge between the esoteric concept of the Method and your actual story. In Subtxt, these Illustrations are enhanced by a community-driven approach, supported by expert curations, ensuring a rich and effective storytelling experience.

A common pitfall in translating Methods into Illustrations is treating the Methods as static objects rather than dynamic processes. When Methods are misapplied as direct storytelling objects, their impact and effectiveness in the narrative are diluted. Think of Methods and their more detailed Illustrations as if the verbs of conflict in your story, not as direct objects or nouns.

YES Examples

• "simplifying the system" for Reduction
• "suspending disbelief" for Disbelief
• "accepting one's future" for Future
• "putting the past behind" for Past
• "formulating a conspiracy theory" for Theory
• "having no reference point for what is real" for Actuality
• "finding someone unacceptable" for Acceptance
• "exceeding expectations" for Expectation
• "revealing the past" for Past
• "being a catalyst" for Cause
• "seeking an endorsement" for Support

NO Examples

• "Inequity can be right", "Knowing that reality", or "if unfair" for Inequity (used as nouns, not verbs)
• "forgetting one's criminal past" for Past
• "circumventing an established process" for Process
• "wanting to protect someone" for Protection
• "determining that something is possible" for Possibility
• "giving up preconceptions about someone" for Preconceptions
• "let's go of her obligations" for Obligation
• "placing too much of an emphasis on a theory" for Theory

In the above list of denials, Methods were used primarily as direct objects or nouns exclusively. For example, “putting the past behind” is Past-ing, whereas “forgetting one’s criminal past” is really more about forgetting (i.e., Memory).

“Wanting to protect someone” is more about Desire. “Determining that something is possible” is more about Determination. “Giving up preconceptions” is more about giving something up, then it is about Preconcept-ing.

Too Much or Not Enough

Between Dynamic Pairs (Avoid/Pursuit, Faith/Disbelief, Order/Chaos, etc.) there exists a sliding scale of Illustrations. These range from too much of a certain Element (positive) to not enough of an Element (negative).

Know that this sliding scale exists within every single Method you find in your Storyform.

The Sliding Scale of Conflict

Between Faith and Disbelief, there exists a wide range of interpretations:

• Too much Faith
• Faith
• Not enough Faith
• Not enough Disbelief
• Disbelief
• Too much Disbelief

This is where you might find the difference between an agnostic (not enough Faith) and an atheist (too much Disbelief).

Tips for Effective Illustrations

Key starters for effective Illustrations include phrases like "Being/Not Being", "Having/Not Having", and "Lacking/Not Lacking".

Avoid starters that tend to position Methods as objects, such as "demanding", "needing", "wanting".

Remember, the Storyform drives the narrative. If your storytelling shifts, you can modify or update the Illustration.

With a Main Character Concern of Progress, an Illustration towards the beginning of the story might be "having one's life slowly declining."

That same Storypoint may shift towards the end of the story to something like "someone making steadily upwards progress". Both Illustrations effectively illustrate the Method of Progress - regardless of direction.

Methods may repeat from one Throughline to another. Feel free to Illustrate these Methods differently, the effect will be a narrative with thematic elements that resonate with one another (through these underlying Methods).

The Subtxt Illustration Library

Subtxt houses an extensive library of professionally curated Narrative Illustrations. If you can't find an Illustration that fits your story, you can submit one for approval. Community contributions play a vital role in enhancing the collective storytelling experience.

Once a submission is made, it undergoes review by Subtxt’s AI services. If approved, Subtxt AI will provide an explanation as to why, and add your Illustration to the global database.

Illustrations may be made private by clicking the padlock icon to the right of an Illustration.

You can also set this globally within your Preferences page.

If denied, Subtxt AI will explain why the denial and will make suggestions as to replacement ideas for that particular Method.

Professional Curation

While Subtxt relies on AI to do the heavy lifting for approving and denying Illustrations, know that we also curate these responses to make sure that you are getting the very best reasoning as why or why not an Illustration may work.

If you feel as if Subtxt’s AI is incorrect in its evaluation of your Illustration, feel free to give it a thumbs down and write in the submission box why you contest its answer. Your recommendations and feedback help to make Subtxt better for everyone.

Classifying Conflict

At its most basic and general level, conflict is identified by the mind through four general Classifications:

• Universe (a fixed external situation)
• Physics (an external process)
• Psychology (an internal process)
• Mind (a fixed internal situation)

Using all four of these classifications in a story ensures completeness. Leaving one out makes the story feel incomplete.

In Subtxt, these classifications are applied to four Throughlines, representing different perspectives:

• Objective Story (They, the plot),
• Main Character (I)
• Obstacle Character (You)
• Relationship Story (We, usually the relationship between the Main and Obstacle Character)

The Objective and Relationship Stories must contrast in conflict type (Universe vs. Mind, Physics vs. Psychology), as should the Main and Obstacle Characters. This opposition maximizes conflict in the narrative.

Classifying Throughlines to Domains

In the beginning, assigning these Throughlines to Classifications can be a daunting task. There are two keys to help make this process easier for you:

Understand there is no "right" answer, except the one you decide upon. You, the Author, is the God of this story and what you deem to be the source of conflict for a narrative is the source of conflict for that narrative. Identify what stands out to you as being the most important, or key defining factor, in each Throughline.

The first key is perhaps the hardest for most Authors to come to terms with, the second provides an opportunity for them to further define what kind of story they want to tell.

Of Pirates and Princesses

Take for instance two films: Pirates of the Caribbean: The Curse of the Black Pearl (the first one), and The Princess Bride. Both offer up a Fantasy Adventure narrative full of fantastic characters and thrilling plot elements.

But how would one classify the Objective Story Throughline for these films? Are they the same? If so, which of the four Domains do you see their respective Authors focusing conflict? Is it a fixed external situation in Universe, or is it something more along the lines of extreme prejudice, and the OS Throughline is in Mind?

If you find yourself struggling with the same sort of questions for your own story, do what we're going to do below: list out all the characters and identify, or illustrate, the most important aspects of them as characters in the plot.

We'll start first by identifying what is problematic for the characters in Pirates:

Pirates: The Curse of the Black Pearl

• Jack Sparrow - he manipulates people for his own gain
• Captain Barbossa - tries to get the Black Pearl for himself
• Will Turner - chases after Jack Sparrow
• Elizabeth Swan - chases after Will, tries to save Will
• Norrington - reneges on a deal, goes after the pirates

Pretty basic stuff, right? Pirates of the Caribbean emphasizes the actions and tasks of these characters above all else. It's what gives the film its personality.

Now, let's do the same for The Princess Bride. What's problematic about the characters in that film? What makes them "interesting"? (Interesting being a factor in determining what the Author deems to be the source of conflict, i.e. what they focus the story on):

Princess Bride

• The Grandson - doesn’t like love stories, doesn’t want to listen to grandfather
• Grandpa - manipulates grandson to listen to book, maybe he’ll get something from it
• Westley - doesn’t give up, won’t let buttercup down
• Buttercup - she only focuses on past love, won’t marry the man betrothed to her
• Inigo Montoya - persistent, won’t give up, bombastic, charismatic, flamboyant
• Prince Humperdinck - flamboyant, very manipulative, evil
• Count Tyrone Rugen - likes pain, likes to torture, he wants to know how far a man can go
• Vizzini - money hungry, short man’s syndrome, know-it-all, bossy, mean-spirited
• Fezzik - gentle giant who likes to rhyme
• Impressive Clergyman - long-winded speaks eloquently gibberish
• Valerie - positive point-of-view, cheer people up, crazy witch
• Miracle Max - crazy, very negative point-of-view
• The King - completely clueless, passive, goes along with everything

What a contrast!

The Princess Bride is all about the dysfunctional craziness of the characters moreso than the actual sword-fights or "storming" of any castle. In fact, the comedy within the sword-fights and the storming of the castle is in the dysfunctional psychologies of the characters.

The Objective Story Throughline of Princess Bride rests in the Psychology Domain.

The Objective Story Throughline of Pirates: The Curse of the Black Pearl rests in the Physics Domain.

Pirates is about the physical conflict, The Princess Bride is about the dysfunctional ways of thinking ("Inconceivable!").

The Removal Test

In addition to listing out the characters, you can always easily identify a source of conflict for a Throughline by asking yourself, "If this source of conflict no longer existed, would there still be a story?"

In Pirates, if the pirates no longer attacked each other or chased after the treasure would there be a story? No. Therefore, Physics is the proper Domain classification. If you thought for a second that Objective Story of Pirates was in the Psychology Domain because Jack Sparrow is a dysfunctional manipulative character you would ask, "If the pirates were suddenly not dysfunctional towards one another, would there still be a story?"

That question doesn't even make sense for that film!

The answer is a resounding "Yes!" and therefore, the Objective Story Domain of the film cannot be in Psychology.

Doing the same for The Princess Bride, if you thought for a second, "Well, the film is about sword-fights and storming the castle, and saving princesses" then you might think the Objective Story Throughline to be in the Physics Domain. So then, you would ask: "If the characters no longer engaged in sword-fights or stormed the castle or saved the princess" would there still be a story?"

The answer is definitely "Yes" because the film is all about the charismatic manipulations during the sword-fights--not the sword-fights themselves. The Objective Story Throughline of The Princess Bride is therefore not in the Physics Domain.

If instead, you were to ask, "Well, if the characters in The Princess Bride were no longer dysfunctional and manipulative towards one another, would there still be a story?" Maybe...but it would be a tragically boring a soul-less experience!

The Objective Story Throughline of The Princess Bride rests comfortably in the Psychology Domain.