Sorting out a viable character arc and hence plot for your story is perhaps one of the trickiest aspects of writing to get right. But it’s also the most important.
Like all writing, it’s a learned skill – practise makes perfect, and you can’t play games with the structure until you’ve mastered it. For beginning writers perhaps the best way to approach that is to fall back on the fail-safe story – the three-act hero journey. This is absolutely classic structure and character arc, used and re-used by writers old and new, experienced and novice. It’s the literary equivalent of the four-chord rock song. But that doesn’t mean every writer who uses it ends up with the same story – far from it. In fact, the onus is on you, as the writer, to make an original tale around that structure.
To show what I mean we need go no further than two classics, Tolkien’s The Hobbit, and George Lucas’ Star Wars. On the face of it, they’re radically different tales – different settings, different genres. But they’re both based on the hero arc. Check this out:
- We meet Bilbo/Luke in their normal world. They are set in their ways, but something niggles them – something is missing in their lives.
- They meet an older mentor figure (Gandalf/Obi-Wan), and a dramatic event pushes Bilbo/Luke, forcibly, out of that normal world (Bilbo’s ‘unexpected party’, Luke’s discover of his murdered uncle and aunt).
- Bilbo/Luke at first flounder; but the mentor offers guidance, and they begin to learn how to handle themselves. There is a first test away from the mentor (Bilbo vs the trolls, Luke sent to look for Leia in the Death Star while Obi Wan is dealing with the tractor beam) .
- Bilbo/Luke gain confidence from their experiences.
- There is a pivotal point at which they are stripped of their mentor (Gandalf departs to deal with the Necromancer, Darth Vader kills Obi Wan) after which the hero has to find their own strength (Bilbo versus the spiders, Luke leading the attack on the Death Star). Tolkien had a lot more space to explore this side of the arc than Lucas – Bilbo’s hero growth in The Hobbit was multi-dimensional and the Lonely Mountain sequences focussed on his ethical journey after he’d found his personal heroism.
- Bilbo/Luke achieve a great victory on the back of their new-found strengths (Bilbo uses the Arkenstone to try and reconcile the crisis over the unguarded dwarven treasure, Luke uses the Force to hit a small target and blow up the Death Star.)
- The story ends; the character arc is complete.
So there you have it; the hero arc – an arc which must be entwined with specific plot points to work. If done right – and both Lucas and Tolkien nailed it – the drama flows from the character development, and the narrative of the plot matches the essential pivot points of the character arc. That one-two punch keeps readers on the edge of their seat.
And if you need another example, go check out The Wizard of Oz. Same story.
Copyright © Matthew Wright 2014