Storyline & Narrative Causality

The biggest difference between life and stories is that stories follow a clear logic and causality, while life often doesn’t, or at least not in a way that’s obvious or neatly condensed. Some may argue that everything in life has meaning and that coincidences don’t truly exist. Still, when compared to the clarity and structure of storytelling, real life often feels like a chaotic mess.

Let’s take a closer look at how storylines are developed and the role narrative causality plays in storytelling.

The term storyline refers to the sequence of events that make up the main narrative of a story. It is essentially the plot, the path that follows characters through conflicts, developments, and resolutions. It acts as the “skeleton” that provides structure and momentum to the story.

Narrative causality refers to the principle that events in a story are connected by cause and effect. Events don’t just happen randomly; but one event leads to another in a logical sequence. In other words: something happens, which causes something else to happen, which then leads to the next event, and so on. This causality gives the story logical flow and coherence, making it more believable, emotionally impactful, and capable of conveying deeper meaning or messages.

Example:

Instead of just listing events:

“The king died. Then the queen died.”

Narrative causality adds meaning:

“The king died. Then the queen died of grief.”

Now, the second event is caused by the first — this is narrative causality at work.

Why narrative causality matters:

• It creates momentum: readers want to know what happens next.
• It builds tension and stakes: actions have consequences.
• It shapes character development: their choices lead to real outcomes.

Without narrative causality, a story feels like a string of unrelated scenes. With it, a story feels purposeful and meaningful.

Most storylines have the following key elements:

1. Beginning / Exposition: Introduces the characters, setting, and main conflict.
2. Rising Action: Builds tension as challenges or complications arise.
3. Climax: The turning point or most intense moment.
4. Falling Action: Shows the consequences of the climax.
5. Resolution / Denouement: Wraps up the story, resolves conflicts.

A story can have one or many storylines, depending on its complexity, genre, and length.

1. Single storyline

• Most short stories or tightly focused novels/movies have one central storyline.
• This follows one main character, goal, or conflict.

Example:
The Old Man and the Sea by Ernest Hemingway – one storyline about the struggle between man and nature.

2. Multiple storylines (also called subplots or parallel storylines)

• Longer or more complex works (like novels, TV series, or epic films) often have several storylines that:
  • Intertwine (intersect at points)
  • Run parallel (happen at the same time)
  • Reflect or contrast each other thematically

Examples:
Harry Potter – Main storyline (Harry vs. Voldemort), with subplots involving Ron’s family, Hermione’s activism, relationships, and more.

Game of Thrones – Multiple storylines across different regions, families, and political agendas.

Types of multiple storylines

• Main plot + subplots (support or enrich the main arc)
• Parallel plots (equally important but follow different characters)
• Nonlinear plots (different time periods or perspectives)
• Frame stories (a story within a story, e.g., The Arabian Nights)

Non-Chronological Storyline

A non-chronological storyline is presented by intentionally disrupting the order of events in a story, meaning the events are not told in the order they actually happened. Instead, the author or filmmaker presents them in a sequence that best serves theme, emotion, character development, or mystery/suspense.

Here are some examples how non-chronological storytelling can be done:

1. Flashbacks
   • The story jumps back in time to show a past event that adds context or emotional depth.
   • Example: In The Godfather Part II, the story flips between Michael Corleone’s present and Vito Corleone’s past.
2. Flashforwards
   • The narrative briefly moves ahead in time to hint at future events.
   • Example: Lost (TV series) often showed flashforwards to build tension and mystery.
3. Framing device / Story within a story
   • A character in the present recalls or narrates a past story.
   • Example: The Notebook – an older man recounts a love story to a woman in a care home.
4. Circular structure
   • The story ends where it began, looping back to the opening scene.
   • Example: Memento by Christopher Nolan starts at the end and tells the story backward.
5. Fragmented narrative
   • Events are presented out of sequence without clear transitions, requiring the reader/viewer to piece the timeline together.
   • Example: Pulp Fiction by Quentin Tarantino.
6. Reverse chronology
   • Events are told in exact reverse order, from the end to the beginning.
   • Example: Irréversible by Gaspar Noé.

Non-chronological structures are often used to reflect how memory or trauma works, or to build suspense and mystery. They show how past events influence present behavior. They can surprise the audience by providing an unexpected twist in the plot. They challenge traditional narrative and engage readers/viewers more actively

A non-chronological structure can be more difficult for readers and viewers. Some clues can help them to navigate the story:

Give dates, ages or visual cues to understand place and time. Shifts in tone, setting or character development explain the connection of the story elements. Sometimes however confusion is intentional and part of the experience.

If you’re writing or analyzing a non-chronological story, the key is how well it maintains coherence while enhancing the emotional or thematic depth of the narrative.

A storyline ends when its central conflict or dramatic question is resolved, either positively, negatively, or ambiguously. Give a resolution of the core conflict to close a storyline.

Every storyline has a goal, question, or tension. It ends when:

• The main character achieves (or fails to achieve) their objective.
• The dramatic tension is settled.
• The emotional or thematic arc completes.

Example:
In The Lord of the Rings, Frodo’s storyline ends when the Ring is destroyed, the quest is fulfilled, and the character arc concludes.

Character Arc Closure

A storyline ends when the main character undergoes significant change, or:

• Learns the key lesson,
• Makes the final decision,
• Reaches acceptance or transformation.

Example:
In a coming-of-age story like Lady Bird, the storyline ends when the character becomes emotionally independent.

Departure or Disengagement

If the character leaves the narrative world (through death, exile, or literal exit), their storyline effectively ends, even if other plots continue.

In multi-plot stories different storylines can end at different times:A subplot might end halfway through the story. A romantic arc might conclude after the main mission. Some arcs are intentionally left unresolved for thematic reasons or sequels.

Narrative causality helps readers feel that a story is going somewhere, that events matter, and that everything is part of a bigger picture. It’s the backbone of compelling storytelling.