Character arcs are an important part of making any story satisfying. As we said yesterday, it’s as simple as making sure a character grows and changes throughout the course of the story. It’s important to remember that these changes, too, are most effective if they’re brought about by the external plot (more on that later).
Every character, and every character, has to start somewhere. We know that in the ordinary world, something is amiss—something is missing from the protagonist’s life. That doesn’t just mean a love 
interest or a murderer that needs to be brought to justice—there’s something deeper, on an emotional level, that the character needs.
That could be love or justice—or it could be forgiveness, healing, resolve, courage, wisdom, etc. (Alicia Rasley has a great list in her article “The Internal Journey.”) This is what they gain in the end— what the story events mean to the character.
This is another instance where knowing the end from the beginning really pays off—if you know what the character will end up with, you know set them up in the opposite place: if they need love, they start off lonely. If they need healing, they start off damaged; resolve, dissolute; courage, afraid; wisdom, naive.
This also works the other way around—if you have the flaw at the beginning, you can look for ways to “fix” it throughout the story events.
A major part of the “elixir” a hero returns with is this internal journey—the process of fixing what is wrong in his life. It’s what makes a book truly compelling, and something that we continue to contemplate beyond the basic events of the plot.
What do you think? How have you crafted your characters’ arcs? What are your favorite character arcs to read?
Photo by Richard Johnstone
It’s easy to get caught up on the plotting and planning of a new story’s events that we don’t think as much about the characters. I’ve made a habit of getting started on a story’s events and in the middle, stopping to really think about how the characters are going to grow and change (I do get to know them well that way, though—fewer surprises from there on out). 
voted for your admittance, and any prospective members you voted for (if they got enough votes). So while we have some 20+ members (I think?), most people have only 2-4 others they’re actively critiquing. 
Now, I’m going to tell you right now: that’s quite often good advice. I’m not one for slavishly adhering to rules, but when I read a book that routinely tells me about what people are thinking rather than showing me that they’re thinking it, it drives me crazy. It’s like reading about a story rather than reading the story itself.
In this case, we really don’t need to “see” every detail of the children’s clothes. Now, a better way to accomplish both might be for the character to actually handle the children’s clothes, noting the details (perhaps she’s a seamstress who appreciates clothing construction and patterns?), her thoughts slipping back to her son.
#1, first and foremost, most of all: sit down and write. Just do it. Whether you feel like it or not, whether you are inspired or not. I’m not one of those “if you’re ‘really’ a writer you must pound out 8000 words a day even if it’s like drawing blood from a stone using your eyelashes” people, but seriously, if you don’t sit down to write, it won’t get done.
Finally, in case you’ve forgotten, I highly recommend plotting in advance. That way, you seldom spend three weeks pondering where your characters will go next and what they’ll do when they get there, and how on earth you’re going to spend 50,000 words getting from plot point 1 to plot point 2. (And also, we have a 
