Reframing Storytelling Terminology: Moving Beyond Plot-Driven and Character-Driven Labels

For decades, writers have categorized stories using terms like "plot-driven," "character-driven," "setting-driven," or "theme-driven." While these labels attempt to describe storytelling priorities, they often oversimplify what stories are about and create unnecessary confusion for writers. These terms can unintentionally mislead writers into thinking they must prioritize one element at the expense of others, resulting in imbalanced storytelling.

The reality is that stories are holistic by nature. Each element—plot, character, theme, worldbuilding, genre, and medium—works together to serve a single purpose: shaping and transforming the protagonist in a way that resonates emotionally and reveals deeper truths about the human experience. When writers lean too hard on one aspect, their stories lose balance and risk becoming hollow or overwhelming.

To address this issue, I propose moving away from outdated labels like "plot-driven" and replacing them with terminology that focuses on identifying specific imbalances and their consequences. Let’s explore the problems with traditional labels, define new terms, and outline how they can help writers craft more cohesive narratives.

The Problem With Traditional Terms

1. They Create False Dichotomies

Terms like "plot-driven" and "character-driven" suggest that plot and character are at odds with one another, forcing writers to choose one over the other. In reality, a strong story relies on the interplay between plot and character. The plot provides structure and challenges, while the character’s emotional journey drives the story forward.

2. They Misrepresent Key Elements

Worldbuilding is often labeled "setting-driven," implying that a story can somehow be led by its setting. But a world—no matter how intricate—is meaningless without characters to interact with it and plot events to reveal its stakes. Similarly, terms like "theme-driven" or "action-driven" treat these elements as central pillars, when they are tools that support the character’s transformation.

3. They Don’t Diagnose Real Problems

If a writer is told their story is "plot-driven," it doesn’t explain why the story feels off. Is it because the characters lack agency? Because the events feel mechanical? The traditional terms don’t help diagnose specific issues or offer actionable guidance.

Introducing New Terms for Storytelling Imbalances

Instead of relying on vague labels, we need terms that clearly describe the consequences of leaning too hard on one element. Here are the new terms I’m introducing, categorized by the six pillars of storytelling:

1. Plot Imbalances

• Mechanical: When the plot dominates the story, leaving characters as passive observers rather than active participants. Events feel like they’re happening in a rigid, cause-and-effect manner without emotional resonance or character agency.

  • Example: A story where the protagonist’s decisions have no impact on the outcome, and the plot feels like it’s "on rails."

• Over-Twisted: When the plot becomes overly complex or reliant on shocking twists, sacrificing clarity and emotional connection for cleverness.

  • Example: A mystery with so many twists that the audience becomes confused and disengaged.

2. Character Imbalances

• Self-Indulgent: When the story focuses too much on introspection, relationships, or emotional beats without meaningful external stakes or progression.

  • Example: A literary fiction novel where characters reflect endlessly but take no action to move the story forward.

• One-Dimensional: When characters exist solely to serve the plot, lacking depth, motivations, or personal stakes.

  • Example: A protagonist whose only defining trait is their role as "the chosen one."

3. Worldbuilding Imbalances

• Overgrown: When the worldbuilding overwhelms the story, prioritizing intricate details and lore over character development and narrative momentum.

  • Example: A fantasy novel with pages of exposition about the world’s history but little focus on the protagonist’s journey.

• Tour Guide Syndrome: When the story feels like an excuse to showcase the setting, with characters and plot taking a backseat.

  • Example: A sci-fi story that spends chapters exploring the intricacies of an alien civilization without advancing the narrative.

4. Theme Imbalances

• Preachy: When the theme takes precedence over the story, turning the narrative into a moral lecture rather than an organic exploration of ideas.

  • Example: A novel where characters speak in monologues to hammer home the author’s message.

• Abstract: When the theme is so vague or disconnected from the characters and plot that it fails to resonate.

  • Example: A story that claims to explore "love" but doesn’t show how it affects the protagonist in specific, meaningful ways.

5. Genre Imbalances

• Overplayed: When genre tropes are used excessively, making the story predictable or clichéd.

  • Example: A romance that hits every trope (meet-cute, miscommunication, dramatic declaration) without adding anything fresh or unique.

• Tonally Confused: When the genre’s tone clashes with the story’s emotional or narrative goals.

  • Example: A horror story with comedic elements that undercut the tension.

6. Medium Imbalances

• Overproduced: When the storytelling style relies on flashy techniques or gimmicks, distracting from the narrative.

  • Example: A film with excessive special effects that overshadow the characters and plot.

• Underutilized: When the medium’s unique strengths aren’t fully leveraged.

  • Example: A video game with a linear story that doesn’t take advantage of player choice.

Why These Terms Matter

These new terms offer three key advantages over traditional labels:

1. Clarity: Instead of vague statements like "This story is too plot-driven," writers can identify specific issues (e.g., "The plot feels mechanical because the protagonist isn’t driving the action").

2. Actionable Feedback: Writers can use these terms to pinpoint imbalances and address them directly. For example, if a story feels overgrown, the solution might be to cut unnecessary worldbuilding details and refocus on character stakes.

3. Integration with the Six Pillars: These terms align with your storytelling framework, reinforcing the idea that plot, character, theme, worldbuilding, genre, and medium must work together to support the protagonist’s transformation.

Using These Terms to Craft Better Stories

To create balanced narratives, writers should:

1. Evaluate Their Stories: Use these terms to identify imbalances. Is the plot mechanical? Is the worldbuilding overgrown? Does the theme feel preachy?

2. Ask the Right Questions:

   • How does the plot test and shape the protagonist?

   • Are the characters driving the story, or are they being dragged along?

   • Does the worldbuilding enrich the stakes and conflicts, or is it distracting?

3. Focus on the Core Truth: Remember that a story is about how the plot affects the protagonist. Every element should serve their transformation and the emotional resonance of the journey.

Final Thoughts

Traditional storytelling terms like "plot-driven" or "character-driven" are too reductive to capture the complexity of storytelling. By introducing new terms like "mechanical," "overgrown," and "preachy," we can better diagnose storytelling imbalances and guide writers toward crafting cohesive, resonant narratives. At the heart of every story is the protagonist’s transformation, and every element—plot, character, worldbuilding, theme, genre, and medium—should work in harmony to support that journey.

Embrace these terms as tools, not rules, and use them to elevate your storytelling to new heights.