StoryNotesNewsletter

ISSUE #8:


What is a "character arc"? Why can it help a story? And how does
it work?


(Due to its length, this article will be sent in two parts. Thus,
it will comprise Issues #8 & #9.)

(You may prefer to cut-and-paste the two e-mail installments into
a word processing document -- Word, WordPerfect, Works, etc. It
should then be easy to make the page breaks come out properly, in
case you wish to print it out. I suggest a left margin of 1.5" or
2.0", depending on the font.)

(To see back issues of the StoryNotesNewsletter, go
to http://groups.yahoo.com/group/StoryNotesNewsletter ... scroll
down past "Search Archive" and, to start with Issue 1, click on
the "4" in the box for Oct 2000.)


PART 1 (OF 2):


IS THERE AT LEAST ONE


* * * C H A R A C T E R ARC * * *


IN YOUR STORY?


Audiences love stories in which at least one character
undergoes a significant change.

We're assuming, of course, that the change is motivated,
plausible, and not overly sudden. It's better to have no change
than a "silly" change – that is, a character change which is
unmotivated, too abrupt, or simply not credible. But when
properly done, character change can add power, significance, and
emotion to your screenplay.

Character change is commonly referred to as a "character arc"
– and sometimes as "transformational arc." Simply put, this
refers to the change process a character experiences during the
course of the story – the before, the after, and the transitional
steps (and the events that cause them) in between.

An "arc" is a gentle curve connecting two points. Thus, a
character who has only one moment of change (whether at the end or
elsewhere) really doesn't have an "arc." A character arc refers
to an overall change that occurs in stages, in steps. It's a
*process* of change.

We'll discuss *why* audiences enjoy observing a character who
undergoes a change later – and discuss in more detail why having
one or more character arcs can strengthen story.

For now, let's consider a few "characters who change:"

Scrooge in A CHRISTMAS CAROL, Kevin in HOME ALONE, Rocky in the
first movie (it's not just a change of status or fame), Luke
Skywalker and Han Solo in STAR WARS, Marty in BACK TO THE FUTURE,
Rick in CASABLANCA, Terry in ON THE WATERFRONT, Oskar Schindler in
SCHINDLER'S LIST, Hoffman's character in TOOTSIE, Cruise's in RAIN
MAN, Rose in TITANIC, Will in GOOD WILL HUNTING, another Will in
SHAKESPEARE IN LOVE, Lester in AMERICAN BEAUTY, the Hanks character
in CAST AWAY, and many more.

Most of the time, the greatest change occurs in the main
character. There are some stories, of course, where the main
character experiences little or no growth or change. When that's
the case, the main character generally serves as a catalyst for
change in one or more *other* characters.

Often, only one character undergoes an "arc." But nearly as
often, two characters, and sometimes more, will experience an arc.

Almost always, one or more characters will change. A little or
a lot. For better or for worse.

In this article, I'll discuss character growth or "character
arc" as though it applies to the main character, but keep in mind
that it could be applied to one or several major secondary
characters instead of (or in addition to) the main character.

First – what kind of change are we talking about?

THE NATURE & EXTENT OF THE CHANGE

The range of change in a main character can vary from nothing
– no change at all – to a complete and stunning transformation
from one set of traits to their polar opposites. Usually, it's
somewhere in-between.

Two examples of "total transformation" can be seen with Scrooge
and the Grinch. Those characters arcs are compelling and obvious.
But radical change of that sort is very rare. Most of the time,
we're not talking about moving from one extreme to another.

On the other hand, James Bond usually doesn't change at all
(but he and the situation serve as a stimulus for change in one of
the other characters). Indiana Jones does, just a bit.

In movies where the change is minor, the character will remain
primarily the same in terms of basic personality and most traits.
The change may be limited to one particular trait, specific belief,
or a certain mode of behavior.

For instance, the change may involve the realization of some
sort of wrongful thinking and/or erroneous behavior – a negative
attitude, a moral value that lacks virtue or wisdom, or a
philosophy that hurts self or others. And with that realization,
comes a correction of that wrongful thinking or behavior.

Other types of "minor change" could be the learning of an
important life lesson that will improve the quality of his life.
The change can be something that improves the character's sense of
self-worth. Sometimes it's just the conquering of a troublesome
fear – in particular, a fear that was interfering with the
fulfilling of an Inner Need, or the accomplishment of an important
goal.

It could be the elimination of a bad habit that was interfering
with a relationship. Or the overcoming of an inadequacy or
limitation – such as the reluctance to compromise, to admit
vulnerability or error, to express a compliment, or to directly
state one's love for another.

Often, these kinds of small-but-important changes are all that
is required to reap the benefits of a character arc. It depends
upon the needs of the particular story.

Just as often, the change is a bit more substantial than that.

Sometimes by the end of the story a character has exorcized a
"personal demon" – a strong belief or fear that is crippling his
life in a very significant way, generally caused by one or more
traumatic events in the past.

Another sort of character arc is about the release or
liberation of a trait or value that was already there but which has
been repressed or overshadowed. For instance, sometimes a
character may, in the past, have been compassionate. Or socially
and emotionally involved. But then due to the influences of others
or certain life events, the character is now cruel, or emotionally
isolated. In such cases, the character arc can be about
"restoring" the individual.

Or the arc can be about nurturing – strengthening, bringing to
the surface – traits or values that were already there but had
never been expressed, or which had never been developed.
Leadership qualities, courage, resourcefulness, the ability to
love, self-reliance – often these are latent, nascent traits that
are now required, and which, after some time and effort, finally
emerge and prove helpful.

Or it could involve a "realization" – not necessarily about a
lesson, but about a truth within oneself, a facet of one's
character.

It can be about realizing or fulfilling one's potential.

The character arc is often about fulfilling an Inner Need.
That may involve the healing of a psychological wound. Or it
could be about filling a void – a lack or an emptiness – be it
social, spiritual, emotional, ethical, psychological, or otherwise.
When the Inner Need is fulfilled, the person becomes whole or
healed.

Finally, it can be about conquering or controlling a Key Flaw
– an inhibiting, counter-productive, self-defeating, obstacle-
generating, personal flaw that blocks the fulfillment of the Inner
Need and/or works against the achievement of the goal.

These kinds of arcs are not mutually exclusive. For instance,
often a Need will be fulfilled after a character overcomes his Key
Flaw. Or, conversely, the flaw will disappear once the Need is
met. And fulfilling the Need and eliminating the Key Flaw can lead
to a restoration of one's true nature or a realizing of one's
undeveloped potential, greater self-worth, and so on.

In some stories, the arc is negative – it involves some kind
of deterioration or devolution.

So there are many sorts of change that can occur. And in many
movies, the change is quite significant. The change is only rarely
complete and total. It is generally more moderate and realistic –
and yet still important both to the theme and to the characters
involved.

The change process can be fascinating. The end result,
exhilarating.

But what *is* this process? What *causes* the change?


(TO BE CONTINUED ...)


(End of Issue 8; see Issue 9)

Copyright Jeff Newman, 2001


Note: I now offer a $300 evaluation. It consists of on-script
notes, a tape recording elaborating on the notes, 10 pages or more
of written evaluation (6 pages or more of written commentary, and
a 4-page checklist) and a follow-up phone consultation.

For more information, or for info on my other services, please
see my homepage ( http://www.storynotes.net ).

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