Characters: and Their Arcs

CharactersAnd their Arcs:
An Advanced Look at Creating Characters who Change and Grow

What is an Arc?
• “The finest writing not only reveals true character, but
arcs or changes to that inner nature, for better or
worse, over the course of the telling.” – Robert McKee, “Story”
• “The transformational character arc is the emotional

change your Protagonist goes through by the end of
your story.” - Movieonline.com, The Unknown Screenwriter
• “… it is recommended that your main character go

through some sort of transformation, which is often
fulfilling an inner need or conquering a self-defeating
flaw that works against achieving a goal. – Karl Iglesias, “Writing
for Emotional Impact”
Types of Arcs
• The Hero’s Journey – Traditional hero’s journey (Joseph Campbell)
• The Virgin’s Journey – Variation on hero’s journey (“Virgin’s
Promise”)
• Up the Hill – Learns lesson; changes for better.
• Down the Hill - Doesn’t learn; remains flawed
• Linear – Character changes world; not self. Ex. “Raiders of the Lost
Ark”
• Circular – Character changes self; not world. Ex. Wizard of Oz
• Combined – Both world and self change. Ex. Schindler’s List
• Episodic – Neither world or character changes; usual to TV sitcoms
• Inner Goal Arc – What the character needs psychologically,
emotionally, mentally
• Outer Goal – What the character wants physically, materially,
careerwise etc.
• Hidden Goal – A need revealed to the character through
conflict/story
Hero’s Journey Beats - Reminder
Act 1 Act 3
1. Ordinary World 10.The Road Back
2. Call to Adventure 11.Final Battle
(inciting incident) 12. Return with the Elixir
3. Refusal of the Call
4. Meeting with the Guide
5. Crossing the First Threshold
Act 2
6. Tests, Allies and Enemies
7. Preparations
8. Crisis (moment of doubt)
9. Reward
Hero’s Journey Arc in 3 Acts
9. Reward
8. Crisis/Moment
of Doubt
10. The Road

7. Preparations Back
5. Crossing the
Threshold 11. Final Battle
6. Tests, Allies,
4. Meeting 13. Return with
Enemies
the Guide the Elixir
3. Refusal of call
2. Call to
Adventure
1. Ordinary
World
Act One Act Two Act Three

Beginning/ Middle/World End/New World
Ordinary World Upside Down
Using Archetypes for Character
• Audiences want something familiar but different.
• For centuries, cultures all over the world have used the same basic characters
in storytelling.
• Psychiatrist Carl Jung theorized we’re all part of a “collective unconscious”
that connects all people regardless of time, culture or language.
• There are many different archetypes, but the traditional archetypes include the
following:
1. The Hero - A larger-than-life character that often goes on a journey or quest;
demonstrates the qualities and abilities valued by his culture.
2. The Father -The protector and leader
3. The Mother – The nurturer and gentle provider
4. The Fatal Woman or Temptress – A woman who uses her power to make hero weak
5. The Witch – A woman, usually a “hag,” who tries to trap and destroy protagonist
6. The Monster/Villain – Antagonist in opposition to Hero
7. The Innocent – An experienced man or woman exposed to evil of world
8. The Alter Ego/Double – Reveals dual nature of humankind
9. The Helpers (Wise Old Woman/Wise Old Man/Wise Animal) – Assist protagonist
10. The Trickster/The Fool – Trick others to get what they want for good or bad
11. The Underdog – In the wrong place, wrong time but get something of value in end.
Source: http://www.listology.com/list/character-archetypes
Using Personality Types for Character
There are different personality types that can be used to create interesting
character arcs. The following are a few described from a group of 23 listed by the
Unknown Screenwriter at Movieoutline.com:
• The Adventurer – Traits: Always wants to LEAD, lives on the edge, take risks. Flaws:
arrogance of confidence, poor judgment, impulsive, can be ruthless if events dictate.
• The Conformist – Traits: Loves to FOLLOW rules, conservative, hard time making decisions.
Flaws: Predictable, refuses to learn new things, not spontaneous.
• The Fall Guy (or Girl) – Traits: Very trustful, naive, followers, wrong place at the wrong time.
Flaws: Extreme lack of judgment, zero analytical skills, often misdirected.
• The Ultra-Feminine – Traits: Helpless, Dependent, Modest, Coy, Nurturing, Innocent. Flaws:
Passive, naïve, submissive.
• The Victim – Traits: Wants everyone to feel sorry for them, can’t be alone, manipulative of
family and friends. Flaws: Mistrust, Depression, Anger, Pessimistic, Weak. Demanding.
Dependent.
Advice from the Experts
• All characters with more than two lines should have an arc
of some sort. – Robert McKee
• Arcs should be subtle so the audience anticipates actions,
but can not guess what’s actually going to happen. – Unknown
Screenwriter/movieoutline.com
• A complex character should have both inner and outer arcs.
– Dr. Linda Seger, “Advanced Screenwriting”
• Arc exceptions: Well-known characters such as James Bond,
Sherlock Holmes, film noir detectives etc. do not
necessarily have substantial arcs. They change the world. -
McKee, Karl Iglesias, “Writing for Emotional Impact”
• The Protagonist is the person who suffers the most. We
want to see he or she “climb crap mountain” and be
changed by it. - Unknown Screenwriter/movieoutline.com

Characters: and Their Arcs

Uploaded by

Characters: and Their Arcs

Uploaded by

CharactersAnd their Arcs:

An Advanced Look at Creating Characters who Change and Grow

• “The transformational character arc is the emotional

• “… it is recommended that your main character go

10. The Road

Act One Act Two Act Three

You might also like