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  1. Kersme

    Kersme New Member

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    Formulaic Character Arcs

    Discussion in 'Character Development' started by Kersme, Nov 2, 2020.

    Hi All,

    I've been lurking on the forum for years, as there is a lot of good information and discussion, but I've been unable to find an answer to a question that I feel is restraining me somewhat.

    I've written one manuscript, and stuck quite rigidly to the formula of 'Lie' and 'Truth' which I found very interesting in books by KM Weiland. However, while I have a whole life-long story for my main character, enough to fill a dozen b0oks, I feel constrained by the need to find some 'Lie' and consequent 'Truth' for my character in each subsequent book. Can't he just go through life as he is, rather than have new characters/events teach him some great new life-lesson? Does this make the story less engaging and relatable to readers? Or am I being too black-and white about the whole concept?

    I tend to come up with a story and then try to force it into this existing formula. It has seemed to work so far, at least for my beta readers, but I can't help but think there must be another way.

    Any thoughts/reading recommendations would be much appreciated.

    Thanks
     
  2. MusingWordsmith

    MusingWordsmith Shenanigan Master Contributor

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    It sounds like you might be being too black and white about the concept. I've heard the concept of Lies and Truths, and I do think that I find myself reflecting that somewhat in my writing-- but it's not a conscious thing I sit down and tell myself to do.

    I don't ever try to force my story into a formula. I figure out the story and write it, and if there's a formula that describes it-- okay. If there's not, well that's okay too. Honestly there probably is a formula I just don't bother studying them because formulas make me feel constrained.
     
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  3. Mckk

    Mckk Member Supporter Contributor

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    The structure I followed was from a book called Save the Cat - it appears to be a very well-known book, actually, and was recommended to me by a Czech TV director. The book offers a beat sheet with 15 beats, but the key few beats are as follows:
    1. Set up (status quo)
    2. Catalyst (inciting incident)
    3. Act 2 (point of no return)
    4. Fun & Games (meat of your story. Crime novel: investigation of the crime. Romance novel: development of the relationship. Fantasy: journey of the quest etc)
    5. All is Lost (self-explanatory, I think)
    6. Dark Night of the Soul (impact from All is Lost, at the end of this comes the character epiphany where he finally learns his lesson)
    7. Act 3 & Finale (Climax, resolution)
    There're several other beats too but these are the core, I feel. It's not so much a lie/truth thing - I haven't ever come across the model you're talking about - but more that there needs to be a transformation of the main character. The MC needs to change, learn a lesson, also known as a character arc. Where's the journey of the story taken him, personally? What's the theme, and how did the resolution complete the theme?

    I think this is a better way of looking at it than a lie/truth angle. That sounds really rigid, and sometimes truths have many facets, and there are half-truths as well as personal truths. What is truth? I think the words "lie/truth" could be misleading - they're not terribly good words to use for structure because one's interpretation of truth can be different from person to person. Whereas if you think about it as character transformation - what has he learnt and what is the theme of your novel - that gives you a much clearer direction, in my opinion.
     
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  4. hyacinthe

    hyacinthe Banned

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    when it comes to character arcs, you are telling the story of how the main character went through a time that challenged them to make a profound emotional change. this could be the lie/truth thing you're talking about, but it could be something different too.
     
  5. Kersme

    Kersme New Member

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    Thank you all, that was really useful. Can anybody recommend any reading material about emotional change/transformation?
     
  6. Ziggy.

    Ziggy. Active Member

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    Hi, Kersme,

    I used to be like you in terms of feeling rigid and locked in by writing guides. When it comes to Weilands Arc-structure you are looking at it too rigidly and it should only be a guideline. These lies and truths aren't the only thing that encompasses your character, they're just the main focal point and motivation behind their actions.

    Just look at your character and story idea and ask yourself simply:

    How do I want this character to change within the story?

    Then think about that lie. It doesn't have to be a formulaic, and as long as you know that information, your reader will not see the intricacies of lies, truth, or arc in the way you feel. They will just see the changes dramatically unfold.
     
  7. Ziggy.

    Ziggy. Active Member

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    Read a plethora of books. And watch how these characters change. Examine what you believe their beliefs are or how they change. Just keep devouring works and trying to identify key changes. You don't need to keep reading books on writing. Focus on applying what you've learnt to actual story.
     
  8. cosmic lights

    cosmic lights Contributor Contributor

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    I realised recently that it's very difficult advising someone else how to approach writing a book and how much to include a formula. All novels need a structure. I'm not very good at many things but writing comes naturally to me as I was doing many of these things not even knowing I was doing it or that it had a name. (example: I want adding wants and needs without knowing it). So for me just writing wasn't that hard and the first draft wasn't a total disaster. I've read a lot of books all my life and I think it just rubbed off is all. But not everyone does these things naturally.

    The main point of reading "how to write" stuff is to learn but not to gather that information then do nothing with it - the idea is to then apply that to your own work. Think of it as like your tool kit, you may not need every tool for every job. I enjoy it when writers include extras like lies and truth, explore theme instead of just ignoring it, but when you're still learning, you don't need to try and do everything really well all at once. Allow yourself time to learn. You don't have to stick to any formula - if you find one that gets your work done then stick to it. Try not to over think it.

    For 15 years of writing I would make a plan because people who "knew better" advised me to and I listened because I was a beginner. Never finished a single book and most never even got started because I was sick of the damn thing by the time it came to writing it. Stopped planning and just wrote whatever. That worked for me. You have to try things sometimes.
     
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  9. Kersme

    Kersme New Member

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    I think this is key, and something I've been overlooking. I've been focusing too much on how they should rather than how I want them to change. Thank you
     
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  10. Ziggy.

    Ziggy. Active Member

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    I have lost so many hours worrying about trying to fit everybody into Weilands structure, but there's something important for you to remember. This method is to help you focus. It isn't a hard-and-fast rule, and it's applications are expansive. But it's not rigid. It's just a tool to keep you essence of your character within a kind of soft mold you can shape and change. The should is evident in their outward and internal change, and it's very simple.

    How do I want this character to change?

    Then look at their belief, and think about what you want their belief to be at the end. It's that simple. And then set about writing the story to push and pull those beliefs back and forth.
     
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  11. alw86

    alw86 Active Member

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    I think a good rule of thumb with writing advice is to pull back the minute you start feeling like it's absolute, like you MUST do one thing and can NEVER do another. Writing advice, no matter how good, should never be considered rigidly, and anyone arguing that it should is not worth listening to IMO (and I believe 99% of writers giving the advice would agree).
     
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  12. Ziggy.

    Ziggy. Active Member

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    Best advice to stick by. Never feel locked in, take what you need to get the writing done and only look back with these formulas as a focual point of grounding yourself in the work.
     
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  13. Xoic

    Xoic Prognosticator of Arcana Ridiculosum Contributor Blogerator

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    I've also heard that you shouldn't try to apply rules like this on a first draft. The writing should flow organically, intuitively. Then when you've thrown down something rough and can see the basic shape of the story, that's when it's time to start checking where your inciting incident is, the turning points etc, and see if there are any problems with things like character arc.

    Though I do like to hammer out at least a very rough concept of plot as I'm writing.
     
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  14. Ziggy.

    Ziggy. Active Member

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    I agree with you. I like to have a general kind of outline for things as well as a basis for the characters and how I'd expect them to change, and then I just write with a general gist and once the first draft is done, you go back. It works for me quite well.
     
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  15. Fervidor

    Fervidor Senior Member

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    That strikes me as more of a theme or motif, but okay.

    Perhaps this is a sign that you are going about it wrong? Like, maybe you and Weiland simply don't have matching styles, or think about stories differently? This happens a lot, because ultimately we all tell stories our own way. Formulas can be useful, but it's up to you to decide whether or not they're useful to you.

    You may be overthinking it. I, personally, start with the story I actually want to tell and then try to discern what it's about and how it should be told. You may need to trust in your instincts a bit more: You can't become a great author by following instructions. If that was true, anyone could do it. You need to find your own truth.

    Perhaps you rather like Weiland's writing and her style is close to your own. That's fine, we all have writers we strive to emulate. But then she might do things in a way that doesn't work for you - it's just not in your nature. Figuring that out is a good thing, because it shows you're starting to define yourself as a writer. That is to say, you're no longer simply imitating someone else; you're starting to tell stories your way. That should be cause for excitement, not worry.
     
    Last edited: Feb 22, 2021

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