Are character arcs necessary?
Posted by Jordan in Technique, tags: character arc, character arcs, characterization, charactersAfter all this talk about character arcs, I was browsing around on an interesting screenwriting blog, and found an article kind of arguing against character arcs. So are character arcs necessary? The answer, of course, is it depends—and it depends on several factors.
In plot-driven fiction, for example, the characters’ growth and change aren’t what the story is about. Dirk Pitt, James Bond, and Indiana Jones see little, if any, character growth in each episode of their stories (aside from the new Bond movies, maybe). While they are memorable characters, and we root for them to win, we don’t care if they have a life-altering experience to become better people. We’re cool with them staying the way they are. The story focuses on their adventures rather than their experiences.
However, in character-driven fiction, the character arc is central. Reading this kind of fiction enables us the live character’s experiences and feelings, and those are at least as important to the story as the actual actions.
It also depends on the genre. Mysteries tend to be more plot driven. Action stories are usually more plot driven. Romances, especially single-title length ones, are usually more character driven.
Another consideration is whether the book will lead into a series (and if so, how long). If this is going to be a serial character, how many different lessons can s/he learn? It’s possible, of course, to do a metaarc—one that takes the character on a journey from the beginning to the end of the series (Harry Potter?)—but it will probably require considerable planning.
What do you think? Can you think of successful characters who don’t arc? Do you write characters who don’t arc?
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That’s been my main focus of my latest revision round – giving the character a single, solid arc that caries through the whole book. Previous versions had several smaller arcs, and while that worked, I think the single arc will be much stronger.
Hi Jordan!
A little birdie told me to check out your series on emotional arcs – and I’m glad I did. I think successful characters that don’t need to arc have to be dynamic characters with quirks from the first moment you meet them. Close to perfect in the sense that they are immediately appealing in some way and always trustworthy. Like good old James Bond. Do we ever worry that he’s going to lose the battle against the bad guys? Nope. Even with heros like Indian Jones – we understand from the first few minutes of meeting him, that he’s a risk taker who may not be perfect, but he’s physically appealing and he always manages to make a silk purse out of a sow’s ear (I hope I didn’t screw that saying up:)). Anyway, my point is, that in the case of the character who doesn’t arc – I believe that the journey/story, dictates the character. Doesn’t it takes someone like James – to beat those international-world-destroying bad guys? If he had some form of emotional growth to contend with (while he’s pressing the cigarette lighter in his convertible to raise that M K 47 out of the trunk to shoot the enemy) the reader would be distracted, right?
How about Sherlock Holmes? Can anyone see him having to have an emotional arc? I certainly don’t, because he has to be accepting of himself from page one for the reader to relax and enjoy the journey that dictates a character like him. He must be comfortable with his faults, whether that’s his drug addiction and OCD tendencies because even though he doesn’t have an emotional arc the reader can connect with – he garners a level of sympathy and empathy that the reader can identify with, through these weaknesses (they have to be imperfect)…Only my opinion here, but in this case (this is usually reserved for the heroine in the romance novel) yet, I think it fits in this scenario too – perfection breeds boredom.
I noticed, with the examples of characters I came up with that didn’t arc – the reader knows up front what these characters foibles are and that the characters themselves have accepted/and or embraced them. This is an integral point to this kind of story, because the character who doesn’t emotionally arc – also, doesn’t apologize at any point for not experiencing growth. He doesn’t stress over this, so why should the reader? In fact, when it comes right down to it, I believe it’s because of the fundamental flaws disclosed up-front to the reader (with this particular non-arcing character) that he has been chosen for this specific journey. Just my .02 on that.:D
Now, for the character with an emotional arc? (I’m using the female protagonist for the purpose of this part of my comment) The heroine’s external problem, which is created by the inciting incident is the catalyst or motivating factor to propel her and the reader to the story’s central question. I think it’s the heroine’s internal dilemma, her flaw to be fixed – that is the central question, though. Will she be able to surmount this flaw in time to defeat/save/protect her loved ones/self in time?
With that in mind, Jordan, someone asked me of the things I think of when I think in terms of an emotional arc – that leads to resolving the central story question. Here’s what I came up with – (I’m more a buzz word or phrase kind of a gal;)): Action – reaction. Sympathy – empathy. Goal – motivation. A philosophy that differs. Trust. Enlightenment – that reestablishes goals. But the most important thing that sticks out in my brain? Are mistakes. Funny, huh? But I truly believe that mistakes are the largest learning curves individuals are given. If we concentrate too much on having our heroine grow through discovery of a previous misconception and not an actual – honest to goodness mistake – I think the experience falls flat. I like it when you have a character make a honest mistake (not like, sorry I killed you because you made me mad type deal:)) but a simple mistake. A lapse in judgement – we’ve all been there. It happens – it doesn’t have to be earth shattering. It doesn’t even have to be the ‘ah ha’, moment in your story – but it should be real and well defined – not convoluted, complex or overdone. Otherwise your learning curve for your character becomes a process for the reader instead of a deeper insight into your character’s mind and heart. And really, at the end of the day, isn’t that what an emotional arc is suppose to accomplish?
Great series Jordan! Thank-you for doing it!
Murphy:D
And hey, you did get me to thinking (shaking head here as that’s never good;)) during my comment I was wondering about the difference between the male emotional arc v.s the female. We think, process and communicate in a totally different ways – so shouldn’t the way we plot these arcs – reflect that? And doesn’t this tap into the POV issue at some point? Hmm…I’ll have to think about.