When tying the Main Character's personal issues with the Overall Story throughline, it's best to show some sort of causal relationship between the Main Character's resolution/non-resolution of his or her personal problem, and the success or failure of the OS goal.

Examples: (Spoilers Ahead)

HAMLET -- Over the course of the story, Hamlet is changed such that he no longer sees his uncle as a threat, nor seeks to avenge his father's ghost. This allows him to accept his uncle's request to duel for his family's honor -- a duel orchestrated by his uncle and Laertes in order to "legally" get rid of Hamlet. The plot works far too well and everyone in Hamlet's and Laertes' families are dead by the play's end.

AMERICAN BEAUTY -- Lester's decision not to deflower his daughter's girlfriend sets him up to be murdered while he is alone and lost in reverie.

WHAT'S UP DOC? -- Howard receives his musicologist grant which makes him more amenable to accepting his irrational attraction to Judy.

THE SIXTH SENSE -- Helping Cole to understand what the "dead people" want of Cole lets Malcolm come to terms with his own personal problem.