Glossary

The Tale Spinning Method

The complete glossary for the Tale Spinning Method. Learn the precise definitions of story structure terms used in outlining Kind Comedies, including the Character Trifecta (Protagonist, Antagonist, Muse), the Story World (Home, Strange World, Heaven on Earth), and essential plot devices (the Genie, the McGuffin, the King's Law). Whether you're a screenwriter, novelist, or storyteller using the Tale Spinning Method, this reference guide explains every term you'll need to master the circular story structure and write compelling character-driven narratives.

Story Type Terms

The Character Trifecta

Character Traits

Story World Terms

Supporting Characters

The King

A character (often a parent or authority figure) who rules the Home World and teaches the Protagonist their Bad Habit through the King's Law. Well-intentioned but ultimately wrong. Their advice is rooted in survival, not morality. May also serve as the Antagonist in some stories (like Harry in In Bruges).

The Ghost

A variant of the King — a character who has died before the story begins but whose Law still governs the Protagonist's behavior. Their memory, last words, or motto becomes an undeniable truth the Protagonist must eventually reject. Example: A dead parent whose "wisdom" the Protagonist has internalized.

The Universe

The moral force or higher power that judges characters and decides who deserves Heaven on Earth. Must always have "a mouth" — a character or group of characters who give voice to the Universe's Law. Can be a single character (Gusteau's ghost) or a place speaking through its inhabitants (Bruges through Marie and Chloe). Opposes the King's Law and rewards those who shed their Bad Habit.

The Referee

A neutral character who appears in Sequence C to establish what the Strange World values most and what it will reward. Has no emotional stake in the Protagonist's journey. Makes the McGuffin official by explaining the rules of competition. Often returns in Sequence CC as the Judge.

The Judge

The Referee promoted in Sequence CC. No longer just explaining rules but enforcing them and deciding who wins and loses. Raises the stakes to their highest point and makes clear that the Muse's soul is on the line. Knows what the Strange World values but not what the Universe values.

The Two Laws

The King's Law

The philosophy rooted in survival: do what you have to do to get by. Lie, steal, follow orders, hide who you are — whatever it takes. Taught by the King in the Home World. What the Protagonist follows in the first half of the story. Leads to the McGuffin but not to Heaven.

The Universe's Law

The philosophy rooted in morality: live the right way. Be honest. Trust your Talent. Take responsibility. Embodied by the Universe and the Muse. What the Protagonist must learn to follow to reach Heaven on Earth. Directly opposes the King's Law.

Key Plot Devices

The Genie

A mechanism (object, person, or circumstance) that allows the Protagonist's Talent to flow through the Muse temporarily, without the Muse actually learning the skill. Must be external (not internal) and serve two functions: (1) transfer the Protagonist's Talent to the Muse, and (2) conceal the Protagonist's Bad Habit from the world. Must be removable — the Antagonist takes it away in Sequence CC. Examples: Remy pulling Linguini's hair, Ken's influence over Ray.

The McGuffin

The thing all three characters in the Trifecta want — each for completely different reasons. Sits at the center of the first half of the story like a trophy everyone is chasing. What the Protagonist wants (as opposed to Heaven, which is what they need). Can be won using the King's Law and the Bad Habit, which is why getting it at the Midpoint is a false victory. Must feel about 80% satisfying if the story ended there. Examples: The sweetbread dish in Ratatouille, validation/being shown the right decision in In Bruges.

Story Structure Terms

THE Theme

The moral lesson at the heart of the story. In a Kind Comedy, always phrased as: "To reach Heaven on Earth, the Protagonist must shed their Bad Habit in favor of the Muse's Moral Strength." The source of all character and all plot. Revealed through action, not stated directly.

The Circle

The structural shape of the story. Eight sequences (A, B, C, D, AA, BB, CC, DD) arranged in a circle, with Heaven on Earth at the top serving as both beginning (Transition Scene 1) and ending. The Protagonist moves clockwise through all eight sequences. Each sequence on the left mirrors its partner on the right.

Sequence

A series of scenes showing the consequences of the Protagonist's decisions. There are eight sequences in every story. Each sequence ends with a Transition Scene. Named alphabetically: A, B, C, D (first half), AA, BB, CC, DD (second half, mirroring the first half).

Transition Scene

A scene where the Protagonist makes a decision. There are eight Transition Scenes — six are decisions the Protagonist actively makes, two are rewards (the Midpoint and Heaven on Earth). Each Transition Scene is both the ending of one sequence and the beginning of the next.

The Midpoint

The exact halfway point of the story (bottom of the Circle, opposite Heaven). A reward Transition Scene where the Protagonist seizes the McGuffin after winning the battle in Sequence D. A false victory — the Protagonist got what they wanted using their Bad Habit and the Genie, not through honest Talent alone. Should feel about 80% satisfying but leave 20% unresolved.

Mirroring (Mirrored Sequences)

The structural relationship between sequences on opposite sides of the Circle. Each sequence in the first half (A, B, C, D) mirrors and inverts its partner in the second half (AA, BB, CC, DD). Example: Sequence B forms the partnership, Sequence BB shows it cracking. Used as a diagnostic tool while outlining.

Structural Concepts

Cause-and-Effect

The principle that every event in the story must flow logically from the previous event using connectors like because, but, thus, therefore, so, naturally. Replaces "and then" thinking. Creates escalation and inevitability rather than arbitrary plot progression.

The Three Tests

Quality checks applied to key story elements to ensure they're structurally sound:

• The Genie Test: (1) Transfer Test — does it let the Muse USE the Talent without HAVING it? (2) Removability Test — can the Antagonist take it away in Sequence CC? (3) Dependency Test — does the Muse fail immediately without it? (4) Concealment Test — does it hide the Protagonist's Bad Habit?
• The McGuffin Test: (1) 80% Test — would winning it feel mostly satisfying but incomplete? (2) Bad Habit Test — can it be won while still using the Bad Habit? (3) Three-Way Test — do all three Trifecta characters want it for different reasons?
• The Visibility Test (for Archetype): Is the character's Archetype immediately visible or knowable to others in the world?

False Victory

The Midpoint's defining characteristic. The Protagonist wins the McGuffin and feels like they've succeeded, but they won it the wrong way — using their Bad Habit (concealed by the Genie) rather than shedding it. The audience can see the victory is hollow even if the Protagonist can't.

Process Terms

Iteration

The Tale Spinning method's approach to story development. Characters and structure are refined through multiple passes rather than getting everything perfect on the first try. When something doesn't work in the outline, you return to the Trifecta and adjust the contradictions rather than starting over.

The Worksheet

The foundational document where you record your Protagonist's traits, Trifecta, Story World, THE Theme, and outline. Keep it visible while writing to avoid straying from the root of your story. (Reference: The Kind Universe Comedy Worksheet)

Story Building Blocks

The two types of structural units that make up every story: Sequences (consequences of decisions) and Transition Scenes (decisions themselves). Arranged in alternating order around the Circle.

Advanced Technique

Variations on the baseline structure that work once you understand why the baseline works. Examples: The Ghost (King who died before the story), Out of Order (plot told non-chronologically while preserving structural order), combining Trifecta roles in a single character.

Writing Craft Terms

Underdog

A character who occupies a low or disadvantaged position in the Story World. In a Kind Comedy, the Protagonist must be an underdog — their Archetype makes them looked down upon, dismissed, or considered unworthy in this specific world.

Irony (in Ironic Talent)

The contradiction between what the character is (their Archetype) and what they can do (their Talent). The most powerful capability placed in the social position least allowed to use it. Creates empathy, conflict, and momentum.

Moral Transformation

The change at the heart of every Kind Comedy. Not self-improvement or learning a skill, but fundamentally changing behavior from immoral (Bad Habit) to moral (Moral Strength). The Protagonist's arc from following the King's Law to following the Universe's Law.