StoryNotesNewsletter

ISSUE #9:

(This is a continuation of the
article which began in Issue #8; see
the online archive at yahoo-groups if
you did not receive or save Issue 8:
http://groups.yahoo.com/group/StoryNotesNewsletter)


PART 2 (OF 2):


IS THERE AT LEAST ONE


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


IN YOUR STORY?


HOW IT HAPPENS

Change – whether minor or major – doesn't just happen on
its own.

Change results from the experiences, interactions, and
difficulties that the main character goes through. Taken together,
the events of the story act as a kind of ordeal – a crucible. The
experience becomes a stimulus for change.

He or she is forced, or afforded the opportunity, to view
things from a different perspective – and to witness and hear
other points of view and beliefs. The character must think
things through that otherwise he or she probably would not have.

This process includes setting priorities and making difficult
decisions – sometimes moral decisions and dilemmas. For instance,
the character may have to decide between two desirable but mutually
exclusive desires, goals, needs, or values. Or between two courses
of action where both options are bad.

The character must take actions and undergo challenges that
otherwise wouldn't have occurred; he or she must rise to the
occasion, and often will do more than he or she once may have
thought possible.

Along the way there will be some realizations – about others,
about beliefs or the way life or society works, and about self.

All of this, together, acts as a major learning and growth
experience.

For instance, struggle and adversity will often cause a
character to grow both tougher and more sensitive (more able to
empathize with the difficulties and sufferings of others). Also
smarter. More self-confident.

Hardship, challenges, and dilemmas usually force a character to
summon up wit, courage, inner strength, and more.

In a well-written story, the nature of the new experiences and
the conflict will be matched up with an appropriate character.

If you, the writer, are starting the story-creation process
with a particular character that you find fascinating, you'll
select a situation, surrounding characters, and conflicts that
will challenge the character, and which will tap into that
character's hopes, fears, dreams, needs, skills, and flaws.

The situation and conflicts may be seen as unwanted and
burdensome by the character – perhaps even fearsome and
traumatic. But they may be just what is needed to prompt
long-term growth. The events of the story are like a bitter
medicine that can lead to improved health, the pain that can
lead to gain.

If you're starting with a concept, you'll do the same thing but
in reverse: design a character who will be challenged and
ultimately altered by the circumstances of your story – by the
specific aspects of the main problem or situation, and the various
trials and tribulations that will accompany it.

As a result of this careful match-up of situation and
character, the character may change in one or more significant
ways. For instance, an important Inner Need may be fulfilled, and
in addition, the character may also be more self-confident, have a
better self-image, and be braver, tougher, and more resourceful
than before. In other words, there can be one big, pertinent
change, and several minor changes due to the overall experience.

The nature of the conflict, the interactions with other
characters, certain specific events, and the overall experiences
combine to cause a character to recognize and confront unmet needs,
unhealed wounds, and/or flaws, or to gain other important insights
into self, others, or about life.

Thus, even though the situation may not have been sought or
welcomed, it often acts as a hidden opportunity. By enduring the
storm clouds of stress and struggle, the silver lining of personal
growth and positive life change can be attained.

Of course, as was noted earlier, character change isn't always
for the better. Sometimes these same stresses and challenges can
combine with various temptations and/or pressures, and a character
will change in a negative way. We see examples of character
deterioration in THE GODFATHER and in GOODFELLAS – and in
MACBETH. Also in Captains Ahab, Bligh, and Queeg. Power, Greed,
Need, Hatred, and Fear often prove to be corrupting influences to
those who aren't sufficiently strong of will and grounded in
positive values.

So we've looked at the types of changes that can occur, and at
the causes for this change.

That leads us to another question. Why are we fascinated with
characters who change?

WHAT'S THE APPEAL?

For one thing, change is more interesting than constancy. A
status quo grows tedious. Character change helps to create greater
*variety* in the story.

New, course-changing story events are rarely enough to create
adequate and meaningful variety. These changes of situation are
welcome and necessary, but often relatively superficial. Change of
character is more substantial.

A process of change stimulates audience curiosity and
anticipation. *Will* the character change? If so, how – and how
much?

Change is often difficult and stressful, so it adds conflict –
both interpersonal conflict and inner conflict.

The fact that a character changes also lends the story a sense
of significance and importance. Specifically, it tells us that the
middle mattered – these events were important enough to lead to
character change or growth. When comparing the before and after,
the beginning and the end, we notice the difference, and that it's
not just in terms of situation. It conveys to us that the story as
a whole was worth watching. A story whose events don't lead to any
change at all in any of the characters may be seen as too
inconsequential, too superficial.

And by noticing the steps of change, we realize that the story
is moving forward and developing. It's not static. The arc helps
the audience achieve a sense of progress.

Also important, I think, is that most of us would like to
become a better person. We all have weaknesses and flaws that we
would like to eliminate. We would like to improve. But we don't
quite know how, and aren't sure it's really possible.

So when we see characters on screen who change a great deal,
*it gives us hope that we, too, can change*.

And maybe, if we study what happened to them and what they did,
we can even gain some insights as to how to do it.

And in those films which depict negative change? Often that
serves as a cautionary tale. We learn what happens when we allow
the darker impulses of our nature to gain hold, or what can happen
if our moral codes aren't developed enough to handle great fear,
stress, or temptation. We observe what might happen when we make a
wrong decision, or cross a line that we know we shouldn't. Or we
see how miserable and limited our life might be if we don't summon
the will to overcome the effects of a traumatic event.

So witnessing negative change can serve as a warning – a
negative example. And viewing positive change gives us hope, and
often some insights into effecting our own positive change.

Finally, a character arc can be a *unifying* element in the
story. It becomes a *throughline*, lending a kind of ongoing
element which makes a story more cohesive.

Let's sum up the benefits and appeal of a character arc.

Incorporating one or more character arcs in a story can provide
variety, evoke curiosity, enhance conflict, demonstrate story
progress, act as a cautionary warning, stimulate hope, and offer a
model for change. It also lends a sense of importance and
significance to a story.

Furthermore, since it is an ongoing process, it can provide a
cohesive and unifying element to the beginning, middle, and end
sections of the story. And it can help to integrate story,
characterization, and theme.

And there's an added bonus to the writer: it can even aid in
the *development* of the plot. Keeping character change in mind
will provoke ideas and possibilities that otherwise might not have
occurred.

That's all. No *wonder* we like character arc, when it's
effectively employed.

The fact that a character arc acts as a throughline leads us to
the next topic – a consideration of the *process* of change. When
does this change occur?

THE CHANGE PROCESS

The short answer: not all at once. And not all at the end.

If it happened all at once, it wouldn't be an arc. It would be
one moment, or one point, but not an arc.

While the entire arc is important, the end point generally
carries extra significance. It's here that the last stage of
growth occurs. Shortly before, during, or just after the Climax,
the audience – and often the main character, too – should
realize just how much the main character has changed (and whether
it's for the better or worse).

In some stories, the last major spurt of character growth comes
earlier – at the time of the Crisis/Turnaround which often occurs
at the End of the Middle Section (generally the End of Act 2). It
may be a significant realization, a self-revelation, or a change of
heart (or mind).

It could be an emotional or spiritual healing, a symbolic
rebirth, the casting off of a potential fatal flaw, obtaining a new
clarity of values, or a coming together of outer goal and inner
need.

Now the character is ready for the Final Confrontation. Now he
or she is ready to solve the problem.

But just as often, the last breakthrough for the character
comes in the last act – during the Final Confrontation and/or
Final Ordeal, or during or sometimes even just after the Climax.

At whichever point the last breakthrough occurs, this must not
be the *only* moment of growth.

The arc begins early in the middle act(s) – and sometimes in
Act 1.

Whatever New Situation that the character is faced with in Act
1 will likely cause the character to be thrown off balance. Often
an important decision is made by the End of Act 1. Usually a new
conflict begins, and/or a Big Problem is tackled. All of this
tends to shake the character up a bit. While the change process
may not have actually begun, the character is being "softened up"
and positioned so that the change process may begin. The new
experiences and new perspectives that begin during or at the End of
Act 1 will lead to new insights and learning.

So in Act 1, there will be only a little change – or none at
all, except in circumstance. But during the middle act(s), the
change process begins (or escalates). While at times it may slow
down and even temporary stop, it doesn't end until the End of the
Middle Act(s), or until the End of the Last Act.

The process of growth or change will usually be erratic –
there will be periods of minor, sometimes gradual change, then a
spike of growth (due to some insightful revelation or a key
event), then perhaps slow growth again, some periods of plateau,
and other "spikes" of change, realization, or self-revelation.

At least once, there can be some "backsliding" – some
regression, and then recovery, and resumed growth. Indeed,
sometimes, for a major portion of the script, there is nearly as
much (or even more) regression/deterioration as there is progress
and growth.

And sometimes the character can be regressing or deteriorating
in some ways, and improving in others.

But what *doesn't* happen is to have the character change all
at once, near the end. Or at any one spot, for that matter. It's
a process. It's a throughline. It's an arc.

Remember, though, that while we refer to this "before vs.
after, beginning vs. end" change as a Character Arc, or sometimes a
Transformational Arc, it's not a "perfect" arc. Rarely, if ever,
do we see steady and constant growth throughout the story. It's a
mixture of slow and gradual change, along with some periods of no
change, and punctuated by several instances of substantial change
due to events or interactions which lead to sudden insights or
progress.

So the last moment of change – whether at the end of the
Middle Act(s) or around the Climax – is just the culmination and
completion of the change process. It's the last and perhaps
biggest single moment of realization and/or self-revelation,
and/or the final breakthrough.

By the end of the story, the character's life is probably going
to return to (or attain) a state of balance, even if only a rough,
uneasy balance. Will it be a better status-quo than before, or
worse? Is he or she at a higher or a lower level? What has he or
she learned about him or her self? Or about people, or about life?
In what ways are they a different person? Have they exorcized
their Key Flaws? Faced their fears? Filled a void? Satisfied an
inner-need? Are they sadder but wiser? Happier and wiser? A
better person?

Figure out your character's Transformational Arc, his or her
range of change. If it's not distinct enough, consider going back
and starting your character out "lower" than you currently do.
Start low and give them room to grow. And make sure you've made a
good match of character and situation. You want a character who is
challenged by the goal, the problem, and the main conflict.
Without a proper, fitting match, no growth will occur. The
character will be further challenged by other characters, both
adversaries and allies.

MOVING ON

Much more can be said about the Transformational Arc (or
Character Arc) – especially how it relates to the protagonist's
being "incomplete" and imperfect. This will be addressed in
separate articles dealing with the Key Flaw, Inner Need, Backstory
Events, and Theme. Character change also relates, usually, to the
story's theme.

As we've seen, a great deal is accomplished by providing a
character who goes through a process of learning and change. It
lends variety to both character and story, provokes curiosity and
anticipation, intensifies conflict and energy, and provides
inspiration and instruction for viewers who would themselves like
to change.

If you haven't made use of a character arc in your writing thus
far ... it may be time for a change!

# # #

Copyright Jeff Newman, 2001


Jeff Newman is a screenplay consultant -- rated #2 out of 17 script
analysts reviewed and ranked by "Creative Screenwriting" (March-April
1999).

Author's Note: I now offer a $300 screenplay evaluation,
consisting 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 details, and info on my other evaluation services, please see
my humble homepage: http://www.storynotes.net

To read my bio, scroll down to the very bottom of the home page
and click on "Credentials."

There is also a "Testimonials" link -- feedback from some writers
who have used my evaluation services. If you'd like, you may
call me in Los Angeles at (310) 715-6455.


* * * *

QUESTIONS? COMMENTS?

Suggestions? Criticisms? Compliments? Caveats?

I'd like to hear them. If I think they would be of interest
to others, I'll post a special issue along with my replies. Send
them to: storynotes@...

I hope you've found this article of interest, and that it
proves helpful in your present and future scripts.

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