Solving the Character Arc by Amy Deardon

Amy Deardon

 Solving the Character Arc 

by Amy Deardon

Maybe it’s because I am trained as a scientist, but I love to deconstruct story (fiction and film) to figure out how to deliberately incorporate the important elements that make a story “work.”

Since Annette has so kindly welcomed me to her blog today (waving to say hi), I am happy to return the favor to you, her readers, by talking about a straightforward method to create a powerful character arc. Despite popular opinion that the character arc is a mysterious alchemy of emotions, careful writing, and hope, it can be done by simply inserting a few key plot points at the right places in your story.

These points will sound formulaic. They are like cartoon lines of a picture that, if you use them with some subtlety, will blossom in your narrative. See what you think. I sadly have to keep this description short because of space limits, but trust my explanations will be understandable for you. Feel free to e-mail me from the contact form on my website!

Here are the elements:

1. A Hidden Need. You solve one and only one emotional problem in your story. The hidden need belongs to your protagonist, and is usually something that damages relationships: how the protagonist deals with other people. For example, your protagonist may love money more than doing the right thing, or may be afraid to trust others.

2. Within the opening scenes of your story (ordinary world) you demonstrate in one or a few ways how this hidden need is hurting your protagonist and others.

3. Again at the beginning, you have someone tell the protagonist straight-up what is his problem. “You are so selfish you are never going to see that saving puppies is good for your soul!” The statement you make will probably be more subtle, but you get the idea. Having the hidden need explicitly articulated tunes in your readers to watch for the character change.

4. In the third quarter of the book (Act 2/2), after the midpoint but before the climactic set-up begins, you insert a “hidden need triplet” that solves the protagonist’s hidden need. This triplet consists of:

a. the protagonist clearly demonstrates his hidden need

b. the protagonist realizes he is doing something wrong

c. the protagonist shows that he’s now “got it right”

5. Finally, around the climactic scene the protagonist often uses his solved hidden need as part of his arsenal to win against your bad guy.

I’ve found this pattern in story after story. Try it! You’ll be surprised how well this works.  

Thanks for visiting, Amy! Waving back. Readers, you'll find my review of her book over at Net's Book Notes. A great resource in the craft for writers.

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AMY DEARDON is a story analyst, writer, and publisher. In her previous life she was a Ph.D. scientist who did bench research, and came to faith through studying the historic circumstances surrounding the death of Jesus. You can contact her through her website at www.amydeardon.com.

Amy’s newest book is Create a Strong Emotional Experience for Your Story Readers: Build Captivating Story Characters and Use the Power of Point of View to Communicate Your Story.

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Create a Strong Emotional Experience

The close emotional experience a reader experiences with your characters is perhaps the most important reason he or she keeps reading and loving your story. You can strengthen that bond between your reader and characters by using straightforward writing techniques that transform your characters into sparkling individuals.

In this book you will …

—Discover the essential traits that a story character must have to become a “real person” for your reader.

—Review techniques to translate your character’s personality onto the page so your reader knows him or her as well as a best friend.

—Grasp the powerful point of view technique that plunges your reader into your character’s mind.

—Master these tactics in your own writing by going step-by-step through examples that will show you exactly how to make them work.

It's easier than you think! You can continue to be frustrated building characters by trial and error, hoping you've captured the elements that will "unflatten" them... or learn the powerful proven techniques that generate vibrant story people.

Safety First?

Hey writers, Annette here. I’m reading a book right now where there is all kinds of potential for the heroine to feel something—many things: the deep wound of betrayal; the desolation of rejection; the ache of loneliness. And though the writer describes these emotions, showing us how the heroine is suffering (in the sense of showing us her tears, etc.), I don’t feel a thing. 

Now, two elements could lead to that: 1) I have no emotions; I was born without them. (ha ha) or 2) the author is showing the characters actions, but not giving us a relatable anchor for feeling them ourselves.

Let me give you an example. A little while ago, our dear McCritter and fellow hostess here on SW, Ocieanna, had written about her cardiac arrest in a non-fiction manuscript she was working on. As she described her family’s journey through that agonizing night, we cried. That McCritter table was awash in tears. Pass the tissues! As a mom, I related as she relayed how her oldest child had described the life-and-death events from his own perspective. Wow. Intense. Emotional. And presented in deep POV. We felt it! 

That’s what readers want. We want to feel what’s being described. 

So, here’s the deal: we writers are no longer safe. 

In order to write in a such a way as to elicit that kind of response, Ocieanna had to give us an emotional anchor (mother-child love) and take us into the pain.  There was no skirting around it. She didn’t avoid the conflict/tension/pain. She grabbed our hands and dragged (you get the idea) us right in there with her dear family. Wow. Very impactful. Very emotional. Very unsafe.

The other night, we McCritters got together and one of us was playing it safe. Uh-oh. Can’t do that. For our writing to be impactful, life-changing, satisfying for the reader, we must be vulnerable. We must go into the deep emotional places we spend our lives trying to avoid and take readers there with us. Then, we give them a satisfying read. Thing is, those dark places only highlight the glory of God’s light in our lives. 

So, grab some courage, and repeat after me: I will no longer play it safe. Now, find an intense scene in your manuscript and milk it for tension and conflict, then drag us into the true emotional center of it. Remember, sometimes less is more, and keep the balance believable (i.e., if the heroine has a hangnail, don’t let her have a nervous breakdown over it). Be believable. Be relatable. Don’t be safe.  

Write on!

Content Cops

Content Cops

Why We Need Editors Series
Net's Notations Tuesdays

Going pretty near the speed limit (okay, maybe a touch over *wink*), I peeked in the rearview mirror. Why was the driver behind me riding my tail? And where was a member of law enforcement? There’s security knowing there could be an officer around the next curve ready to cite the driver harassing me.

As writers, we can trust there are editors ready to help apprehend content crooks in our writing. Let me explain.

First of all, it’s not personal. We’re watching for content errors, not opportunities to nitpick. 

As a reader, I can recall feeling dissatisfied with the conclusion of some stories at times because the threads I was closely watching didn’t get resolved. Dissatisfied readers may not pick up your books again. Editors want to keep that from happening.

Crit groups generally see your story over time. In our group, we exchange a chapter per meeting. So, any given novel can take several months to get through. Give any reader a copy of your novel and have them read only one chapter a week—it’s quite possible they’ll miss content snafus.

But editors get a copy of the entire manuscript before them. They can read it in one or two sittings and see it like a reader would. They watch all the threads weave through and make suggestions for bettering the story. As a writer, I’ve been grateful for that. In nonfiction, editors can catch the logic leaps (not that this doesn’t happen in fiction, cuz it does *wink*) or flow issues.

Content cops are on your side! We want you to succeed.

Do you read the acknowledgement page(s) first or last when you read a book? I read them first. I like discovering who helped and how they helped. Do you know what I so often see? “Thank you to my editor whose suggestions helped make the story so much better than its original state.” I’m guessing the writer isn’t speaking of grammar here.

We make the world of books a better place.

Editors are content cops. Please keep in mind, we’re story-minded—like you, but with an editorial bent. When we make suggestions, we’re gearing toward reader satisfaction. If readers enjoy your book, they’ll look for your name again and again. They’ll watch for your next book’s release with great anticipation. That’s what you want. And editors (freelance or publisher employed) can help you get there. Keep in mind you’re building a reputation for your name as an author.

And if you step out of line, we editors will discreetly cite you and then send you on your way with suggestions. *smile* We’re all in this together. The writer in me likes the inherent security in that truth. The editor in me knows it’s a high calling, chockfull of responsibility. Together we make a formidable team, don’t you think?