本文從薛仁貴故事被歸入「家將小說」的概念出發，追蹤史傳、話本、戲曲以至小說的續衍脈絡，考察不斷被添補發揮的「家」元素的演變情形，思考「家」如何成爲續衍的有機元素，促成文本意義的細微轉變。文中拈出「點描、著墨、暈染」三個續衍階段，溯源家元素注入故事之初，點到爲止的開端面貌；至戲曲階段，家元素在情節中被大筆著墨，定型而成「離家／榮歸」的情節框架；繼之而起的小說階段，家元素更溶解於情節段落之間，與其他情節融合相嵌，化爲故事底層的龐大潛流，形成特定言說力量，終將個人故事暈染成爲「家將」故事，無論在戰場上或代際之間，都可見家元素的展演姿態。

This essay starts with conscribing Xue Ren-gue (薛仁貴) stories into the discussion to novels of families of warriors (Jia Jiang Novels 家將小說). This essay is organized by tracing the evolvement of Xue Ren-gue stories from history, folk tale, Chinese opera to novel, studying how the coherent-added "family" factors go in long terms of history and analyzing how can they become organic. There are three steps evolvement in family factors: "first shown to be detected" (點描), "more family material added" (著墨), and "spreading out" (暈染). Family factors being rarely injected in the very beginning of this type of story, and then it disseminates in Chinese opera which completes with the frame of leaving family/coming proudly". In novel step, family factors are blended in story. Family and other factors become an organic system, causing a sub flow in plot. When a hero story evolves to a "family of x warriors story", there are family factors appears no mater in generations to generations or even on battlefields.