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This week: What is Character Arc? Edited by: esprit  
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What is Character Arc?
Q: Everyone says you need to have a character arc, but they don't say how to do it. What exactly is a character arc anyway?
Character Arc: the rocky path of personal growth and development a character undergoes in a story, usually unwillingly, during which the character wrestles with and eventually overcomes some or all of a serious emotional fear, limitation, block or wound. In other words, he's a reluctant hero. He'll have to force himself to change whatever flaw you've blessed him with, and whatever roadblocks you've thrown out to stop him--but he does. He does because the stakes are too high for him not to.
The purpose of each of these roadblocks are to raise the tension. To make the readers wonder if he can do it and to keep them turning the pages. He doesn't have to be loved by the readers, but he does have to have their empathy or they won't be hooked.
Think of an alcoholic whose family left him. He knows they won't be back unless he stops drinking, but he finds it too difficult to stop. His job, his friends, everything he does seem to conspire to keep him where he is. He's weak. He becomes homeless. Can he talk himself into changing? Conflict, tension, empathy. If he remains the same at the end, there is no arc in the character or the plot and the story won't be interesting. If he succeeds easily, there are no arcs and it still won't be interesting. But now it won't be believable either. Changing is hard!
Here's a great example of a character arc: Tom Cruise's character in "Rain Man."
Beginning - Cruise is a ruthless car dealer who kidnaps his autistic brother because he feels cheated about not receiving any money from his father's will.
End of Arc - After a cross-country journey with his brother, he learns the importance of family and turns down the money.
The conflict of his flaw is subtly interwoven throughout the story, moving the story forward.
Character arc is absolutely fundamental to story success. It's not only how the character learns and grows and changes (arcs) as a result of their experiences within the story, but how they apply that learning in bringing about the conclusion of the story. Much of the arc is in the background, in the thoughts of the main character. However, the other characters see the change in his actions and dialogue.
Q: Does anyone have any tips on writing sub plots?
Use the character arc as the sub-plot. It will enhance the story if done well. What makes you 'you' are the things that have happened (good and bad) to you in your past and the way in which you chose to deal with them. It's the same with creating a character and the better you understand the character, the better your story will be.
Where that inner demon comes from is backstory. Every character needs to have a history, but his critical history is short. It's made of the things that changed him for better or worse. How the character overcomes his demons is character arc.
The hero always has something to learn at the beginning of the story. They act out or hide shortcomings and faults that are constantly separating them from what they need and want to achieve, and chances are those are the consequences of having some inner demon that influences their decisions and actions. We do the same in real life, don't we? We try to present our best self to the outside world, hiding our flaws as long as possible.
Remember, readers love a vulnerable hero who realizes his own weaknesses and temptations, and conquers them. That, we can empathize with. We can get behind such a hero and root for him. Because we've all been there, we're all human.
In a character's development he or she might have to overcome:
lack of courage or inner doubts
addictions
lack of ethics
learning to love
guilt
trauma from the past
errors in thinking, etc.
Weaknesses, imperfections, quirks and vices make a character more real and appealing. They humanize them so that the audience can identify with them. Flaws and imperfections give a character somewhere to go, something to work toward. The development of a character is only interesting if they overcome something--the harder it is to overcome, the better the story. Give them conflict and lots of up and downs.
The main plot gives the character an outer problem to resolve, and it should be compelling. It might be the most difficult thing he's ever come up against and the stakes will be high. He will lose everything he cares about if he fails. Someone is depending on him.
The battle within is what drives the character arc and becomes the sub-plot. Changing is hard. Make it harder by throwing everything you can in his already rocky path. Make him earn the empathy of readers, and deserve whatever resolution he receives in the end.
If the sub-plot focuses on the flaw that wants to prevent him from winning the battle with the antagonist in the main plot, the story can only move forward. By keeping the focus, blocks, sequence, and delays in ideas should smooth out, and writing will be more satisfying--and fun.
Thanks for reading!
** Image ID #1528030 Unavailable **
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SUBMITTED:
By: patandmike
Comment: A few little notes on making the beginning writer's experience a little easier.
Comment: adding rhythm to a story helps hold a child's interest while also introducing them to intrinsic motivation.
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Comments on "Invalid Entry"
By: Acme
Comment: I pop my characters into my real life situations in order to see them in action (or, rather, to see them in reaction). For example, I was recently rammed in the rump by a supermarket trolley while shopping. I smiled it off, but then I replayed the whole thing down the cereal aisle, imagining how a particular character might react to the same event. Put it this way, the driver of that trolley was one heck of a lucky lady to get the writer, not the protagonist...
Ace newsletter as usual, esprit
This is a better idea than I came up with, Acme. Real conflict--exaggerated reactions. Thanks for this!
By: k0scist
"Put him into a bad spot and find out how he handles it. "
Great advice. I've often phrased this as "Don't be afraid to torture your characters."
Exactly right, KO. And keep doing it until he snaps and fights back.
Thank you for featuring "Welcome to Non-Humans R Us NOW OPEN GUYS" in your newsletter. It is an outline of a group that I've made with my partner for those who like to write about anthros, monsters, aliens, and so forth. Everyone, from the guy who joined five seconds ago, on up to SM and SMs are welcome to join. Well, I hope that people check it out at any rate.
BIG BAD WOLF is Howling 
It was my pleasure, truly.
By: Krish D.
I really like the suggestions on this article! When I write I tend to be a linear writer (I write one scene after the other) But now I want to really try writing a few scenes out that happen in the future of the story, and see if I can't fill in the "in between"s...
Thanks so much!
Sounds like a good idea to me. Perhaps writing a couple for the middle ( before the climax, and the climax itself) and the end, would help eliminate the 'I get stuck in the middle!' issue. I plan on writing something along those lines in a few weeks. It's a form of mapping for the 'plotters', blended with the freewriting of the 'pantser'.
By: northernwrites
esprit --
These little writings are like the numerous preliminary sketches an artist does to record an idea, or to see how it might work from different perspectives. Your series of editorials includes a lot of useful ideas.
Another good newsletter!
Northernwrites
Thank you! They're intended to be a sort of 'Back to Basics' series that beginning writers can use and experienced writers can remember what they forgot. They're spread through several newsletter genres of the site, but are all available in my port.
By: olayemi
THANKS. I'm learning how to build new characters in for myself and even in characters in my stories. Great thanks to you.
I'm so glad it helped you! This is the greatest compliment readers can give to any editor, thank you so much! 
We always appreciate the feedback, thanks!
Editors:
Cubby 
laurencia
Your host this week is esprit
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Noticing Newbies: February 03, 2010 Issue [#3539]
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