Research Assessment 5

Date: October 25, 2017

Subject: Rewriting (Character Arc)

MLA Citations:

Weiland, K.M. “Creating Stunning Character Arcs, Pt. 1: Can You Structure

Characters?”Helping Writers Become Authors, Helping Writers Become Authors, 23 Oct.

2016, www.helpingwritersbecomeauthors.com/character-arcs-1/.

Assessment:

At the beginning of the article, K.M. Weiland simplifies the process of creating a

character arc by stating the key components, and then she delves into the linkage between a

character plot and the story plot and then the linkage between the character plot and the theme.

Afterwards, Weiland delinates the structure for the different character arcs and mentions the

parts of a story arc down below. This article reminded me of the necessary steps I need to take to

establish a sound character arc and the foundational aspect of the entire novel.

In the first paragraph, Weiland constitutes the character arc in three simple points. The

first one is how the character initially starts. The second includes this protagonist learning

lessons along their cerebral and actual journey they undertake throughout the story. Ultimately,

the last point is the protagonist usually ends in a better place after their enduring adventure.
 By stating the character plot this way, I am able to understand it linearly. Oftentimes the

character’s metamorphosis becomes intertwined with the story arc and the other components of

the story and, before long, it is a convoluted sequence of activity, thought, and emotions. The

refreshing simplicity makes it easier for me to have an action plan for my characters. I have to

make sure, at the very basis of my story, that my protagonist and supporting characters receive

their rightful change. The readers long for a complicated and entertaining character evolution

because it tells them they are not perfect, unreachable figments of my imagination. They are

“people” too and they have a journey to undergo.

Next, Weiland provides famous examples of this simplified process in media. These

include Emma, Casablanca, Great Expectations, It’s a Wonderful Life, and The Great Gatsby.

The examples are great references to consider when I am creating my own character arcs because

these novels and movies have already been published and surfaced on a global scale. My favorite

one is the character arc in It’s a Wonderful Life. The protagonist, George, initially lives

restlessly, desiring to accomplish great things outside of the small town he has lived in his entire

life. By the end of the movie, however, he realizes his “minor” achievements for his community

are worthwhile and his family is the most important part of his life. He learns to embrace what he

already has and appreciate his responsibilities.

The character arc mentioned earlier is much more complicated than this as the story

progresses because the plot and George have to make “pit stops” along the way. These pit stops

include significant plot changes, setting modifications, and personal discovery, but I appreciate

how straightforward and condensed this version appears. I should do this for my character arcs,

so I understand my main goals for their “rebirth” in my book. I have to keep the end goal in mind

to be successful.
 The next part of the article addresses the correlation between the character arc and the

plot sequence. Weiland stresses that the plot and the character growth are integral to each other

and, therefore, cannot be separated. If they are designed separately, then there may be some

interesting parts of the story, but the whole suffers from incoherence. I need to remember the

quote she borrows from Michael Hauge that says “The three acts of the [story] correspond to the

three stages of the hero’s outer motivation. Each change in the hero’s motivation signals the

arrival of the next act.” This notion reminds me to peer at my work in different angles. Before, I

only saw the plot corralling the actions of the characters, but it is actually the opposite. The

characters are driving the plot with their motives, their desires, and their stakes. As I continue to

draft, I need to look at my character and decide what is so important to him that he decides to

push forward.

Weiland proceeds to explain the linkage between a character arc and the theme. First, the

she asserts that the protagonist influences the theme, and to simplify it further, represents the

loose version of the theme. It makes sense to have a theme that relates to the character. It also

can make it slightly easier to institute a plot. The character’s actions and the plot’s sequence

should not diverge from the theme because that will riddle the novel with confusion and

hypocrisy. I need to reign my creativity within the borders of the theme, and I need to make sure

everything my character does provides evidence to support it.

Afterwards, she speaks of the three different kinds of character arcs. The first one is the

positive character arc. This is the most popular and usually the most engaging. The positive

character arc comprises of the protagonist staring one way, travelling along a journey that

requires him to challenge his set perspective on the world and himself, and then him changing

his perspective and ultimately defeating his inner demons and the antagonists. I plan to use this
character arc because I believe in happy endings, redemption, and hope. Because my writing is

slightly different from the stereotypical genre, I want to show that truly bad people can find

righteousness at the conclusion of the story which parallels reality as well. By creating a strong,

fluid character arc, I will then be able to associate it with real people and their struggles.

The second and third character arcs include the flat character arc and the negative

character arc. Both of these are not nearly as appealing to me considering the flat character arc

demonstrates no change in the protagonist but in supporting characters and the third

demonstrates a downward spiral to ultimate failure or destruction. I understand that some authors

operate in this realm of character transformation (or lack thereof) and they can be successful, but

I do not plan to ever write this way. I want my literature to be a faucet for hope and restoration. I

want people to see the thematic pleas throughout the tale and adopt them as their own. Still, these

character arcs can be masterfully written.

Lastly, Weiland refers to the different plot points which is helpful for me because it

reminds me of what I need to achieve in my novel. Some of them consist of the First Act, the

First Plot Point, the First Half of the Second Act, the Midpoint, the Third Plot Point, the Third

Act, the Climax, and the Resolution. All of these are integral elements I must encompass in my

story or no editor, literary agent, or publisher will take me seriously. Therefore, I will continue to

practice and continue to write in order to better my craft. I must remember it is the character

these people will love and hopefully follow to their personal happy ending.