Character Arc: Flat

Why Indiana Jones should have stopped after The Last Crusade as well as a look at dynamic flat arcs.

Brandi Spencer (formerly B. C. Marine), Secretary-Treasurer Authors 4 Authors Publishing

We’re here at the last of the character arc series (you can read here if you want to start from the beginning), and it’s time to tackle the great oxymoron of flat arcs.

Today I’ll be discussing two types of flat arcs: the classic flat arc and what I’m calling the dynamic flat arc. Yes, that second one sounds a bit confusing, and I’ll get to that, but let’s look at a classic flat arc first. Our prime example will be Indiana Jones.

Leave Indy Alone (Classic Flat Arc)

There are few action-adventure heroes more iconic than Indiana Jones. He has his hat, his whip, his snark, and the knowledge and determination to save the day. Nobody watches these movies for deep character revelations or insight into the human spirit. It’s all about the stunts and actions scenes and a crazy archeological treasure hunt.

Part of what makes it all work so well is that Indy doesn’t change. He is a steadfast character. Since the audience can depend on him not to change, the focus of the show is on all the other moving pieces. If you break down everything that happens in a given movie in the franchise, there is a ton of action packed into the runtime, and that’s possible because they aren’t spending time on changing Indy’s character.

It’s a method that served the franchise well...for the first three movies. Then The Kingdom of the Crystal Skull happened. To be honest, I could write a lengthy post on all that was wrong with that movie, but let’s just focus on the character arc of Indiana Jones, shall we?

Where it went wrong

One of the first things to notice is the aging of Indiana Jones. Yes, yes, Harrison Ford is older, and I’m not faulting him for that. He’s actually in fabulous shape for his age. However, he’s just not up to the kind of stunts that he performed as a younger man, which means that the action-adventure main character is forced to take the backseat in several scenes to let his younger co-star do more fights. So that standard, familiar, steadfast setup is automatically interrupted.

This in and of itself wouldn’t be so bad, but a large chunk of the movie is given over to Indy meeting his son and reconnecting with Marion. To be fair, Indiana Jones movies have always had romantic subplots, but they’re as shallow as kiddie pools. They mainly consist of putting a female character in close proximity to Indy for the duration of the film and having him kiss her at some point. The relationships never really change him. In The Kingdom of the Crystal Skull, these subplots take over. So we’re left with an aged Indiana Jones doing less impressive stunts and squabbling with his family. Yay.

By changing the steadfast character, the movie can no longer accomplish the kind of action-adventure that made the previous films so beloved.

To Thine Own Self Be True (Dynamic Flat Arc)

On the surface, this one might seem confusing, but it’s really quite simple. A dynamic flat arc is when a character must actively fight to not change. Because of this struggle, they aren’t truly static (hence dynamic), but ultimately, they have a flat arc. For an example, I’m going to use a character from my novel A Seer’s Daughter. If you haven’t read it yet, go do that. I’ll wait.

Now that you’ve read it (or plowed ahead anyway, you rebel, you), the character I want to look at is Odelia DiOrto. When the story opens, she’s caring, intelligent, and in love with her best friend. While she has some flaws, she’s not in need of major growth or transformation any time soon. She doesn’t need to learn to embrace who she is as a queen. She’s already there and working on getting everyone else to recognize it. What she really needs is to not fall. This is what her father tells her about her future:

“You think that King Gonfrid will just hand Vist back to us if we ask nicely? To claim the throne is to provoke a civil war. He will ransom your head for all the gold he can spare. You will fight to survive, and to hold your claim will require you to become someone I never want you to be. It will mean cruel and ruthless acts and a cold heart. And when all is said and done, there will be two broken kingdoms, ripe for conquest by our neighbors because, lest you forget, Meriveria was formed for a reason. I see death. I see you wearing the crown, and alone. I want no part of this future, Odelia.”

It’s a bleak vision and a far fall from where she starts. Over the course of the story, Odelia’s given many opportunities to choose that future, and a few times, she seriously questions whether she might be stumbling into it anyway. But in acknowledging it, she actively fights to remain who she is. This is different from the classic flat arc in that the character is choosing not to change.

What Now?

Have you seen other examples of a dynamic flat arc? Let us know on Twitter or Facebook. And if you haven’t already, go read A Seer’s Daughter.

Next week, join Rebecca Mikkelson for an important article on genre shaming. Why does it happen, and what should we do about it?

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Character Arc: Fall

How did the most recent film and television adaptations of Vanity Fair handle Becky Sharp?

Brandi Spencer (formerly B. C. Marine), Secretary-Treasurer Authors 4 Authors Publishing

To review what character arcs are, see the overview article here.

For those who may be unfamiliar with Vanity Fair, it is a 19th-century novel by William Makepeace Thackeray that follows the rise and fall of Becky Sharp and Amelia Sedley and their family and friends. There have been many screen adaptations over the years. It was made into a film in 2004 with Reese Witherspoon starring as Becky Sharp, and this year, ITV and Amazon Studios released a mini-series starring Olivia Cooke.

Her Fall

In the book and mini-series, which follows it closely, Becky claws her way up from being nobody to socializing with high society. And claw is the operative word. She will do anything to get what she wants. Nobody truly matters to her, not even her husband or son. She drives away her in-laws and her friend Amelia over the course of her climb. In the process of selling her soul for jewels, money, and invitations to grand parties, she betrays her husband one time too many. He takes their son and leaves her destitute. While she does get by on her wits and manages to always keep herself sheltered and fed, she has no-one, and when her husband dies, and their son inherits the Crawley estate, he asks to never see Becky again because she was such an unloving mother.

Now she does leech onto Jos Sedley in the end, following him around the world and milking his pity for her. She encourages him to take a life-insurance policy, and it’s strongly implied in the book that she contributes to his ill health and demise over the course of several months. However, Jos isn’t a complete fool and leaves very little to her. Becky will always land on her feet, but she has no real friends or love and merely subsists. She will never regain the lofty heights she reached.

Her Sort-of-Fall-But-Not-Really

In the 2004 film, it mostly follows the events of the book...on a surface level. Becky is portrayed in a more sympathetic light. She still lies and tricks her way to the top, but her affections for her family and friends are genuine, rather than an affectation she uses to suit her needs. In the beginning, when she first goes after Jos Sedley, she is in love and gushing over him instead of scheming to take advantage of a socially awkward man of wealth.

Then later, when she is showered with gifts by a wealthy gentleman, she is shocked and appalled to find that he expects her to be his mistress, and when her husband leaves her, it’s treated as cruelty on his part. (It does make me wonder how someone could be that naive while being clever enough to con her way to the top, but that’s not what we’re analyzing here.)

Becky still becomes destitute and friendless in the last act, but because the filmmakers tried to make her likable, they just couldn’t leave her down. Instead of following Jos with her hand out for tablescraps, she ends up with him in the end. The last scene is of the two of them snuggling together on the back of an elephant.

Happily Ever After Doesn’t Always Work

As a romance writer, happily-ever-afters (HEA) are my bread and butter, but that doesn’t always work in other genres. In the case of a tale like Vanity Fair, denying the charcter her HEA is much more satisfying. Despite the way the film version tries to justify her actions, nearly everything Becky does is horrible. She is a conniving narcissist in the book and mini-series, and even in the film, her greed outstrips her feelings. Her one kind act, telling Amelia to stop pining over her horribly unworthy dead husband, isn’t enough to earn Becky’s happiness.

Seeing her get what she wanted from the start says, “Hey, acting like garbage to everyone in your life ultimately pays off!” Although the book version isn’t as punished for her evil as she could have been, she at least isn’t rewarded. For a truly unsavory protagonist, a good fall arc is the most satisfying.

Next Time

For the final installment in this series, join me next week as we look at flat arcs. They may be oxymoronic, but they’re a staple of fiction!

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Character Arc: Transformation

A deeper look at Katniss Everdeen’s arc in The Hunger Games

Brandi Spencer (formerly B. C. Marine), Secretary-Treasurer Authors 4 Authors Publishing

Last week, we examined Han Solo’s growth arc. Now let’s compare Katniss Everdeen arc. Does she grow or transform?

The Expectation

Because there is the show-within-a-show (or more accurately, show-within-a-book) aspect, we get to see how the other characters in the book react to Katniss as a character and respond to her arc, even flat-out discussing it at times. (Thank you Veronica Roth. You made this article easy for me.)

What do all these other characters want to see? A transformation arc. They want to see Katniss become the Mockingjay, to become the heroic embodiment of their rebellion.

There is also a similar expectation with many readers. It’s a young adult (YA) series, and for most of the beginning, it appears to follow the classic hero’s journey: she’s forced to leave home with a mentor and embarks on a series of trials. Classic storytelling has primed audiences to expect such a story to feature a grand transformation where the protagonist becomes the chosen one or an epic hero.

The Outcome

Katniss certainly grows and changes. She better understands her world and her place in it. But does she become the epic hero?

No.

She resists it with every fiber of her being. She lacks the charisma and desire to lead. The spotlight brings out the worst in her lack of social skills. In the games themselves, her biggest tactic is to hide. It’s the ingenuity of those around her that saves everyone in the Quarter Quell, not her heroics. Even in the end, she follows Peeta’s dream to settle and start a family.

That transformation arc isn’t there. Despite all of her mentors and the resistance leaders demanding it, she refuses to become the Mockingjay.

Does It Work?

Just like the characters around Katniss, some readers become frustrated with her lack of transformation. The hero’s journey is centuries old and endlessly popular; audiences are deeply attached to it. Messing with that will always ruffle feathers.

Personally, I love it. I find Katniss far more interesting muddling through life as herself than the icon they wanted her to be.

Next Time

In two weeks, we’ll explore fall arcs, with a focus on Becky Sharp from Vanity Fair. But next week, we have an author interview about A Seer’s Daughter with...me!

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Character Arc: Growth

An examination of Han Solo and his interrupted growth arc

Brandi Spencer (formerly B. C. Marine), Secretary-Treasurer Authors 4 Authors Publishing

Since this article is about character arcs, which includes how characters end up, it will include spoilers for Star Wars Episodes IV-VII and Solo. To clarify my personal bias, I like Star Wars, including The Force Awakens, and Han Solo is a favorite. Though his arc is flawed, he’s still a fun character.

For an overview on arcs in general and their definitions, last week’s article covers the basics of growth, transformation, fall, and flat arcs.

Where It Went Right

In the first film (now called A New Hope), Han has a simple but effective growth arc. When he’s first introduced, he’s a roguish yet charming smuggler who only cares about himself and owns it. He’s cynical about everything: the rebellion, the Force, love. Money is all that matters to him. After his adventure with Luke, where he sees Ben Kenobi using Jedi powers and has a few sparks with Leia, he initially takes the money and runs. Although his turning point isn’t shown, there are moments in his interactions with his companions where his choices are called into question, so when he turns around and joins the final battle, it’s been earned, and shows his growth into a (slightly) less selfish person.

This arc carries into The Empire Strikes Back and Return of the Jedi. He’s often tempted to return to his old selfish ways, but when his friends are in trouble, he proves himself willing to stick his neck on the line. He becomes more and more invested in the rebellion and falls in love with Leia. By the end of the original trilogy, although he’s still rough around the edges, he’s willing to put his friends and loved ones first and sticks around out of loyalty instead of promised riches.

It’s a classic and well-worn arc that many similar characters have followed. It’s satisfying to watch him become a better man over time.

Where It Went Wrong

In fairness, because Han had a neat arc in the original trilogy, the newer films had a difficult task in adding to what was essentially a complete story for him. Did they pull it off? Well…

Aborted Arc

In The Force Awakens, we find out that Han and Leia married and had a son. Yay! That fits the path he was set on. But then it’s revealed that Han left her to go on his own mission because he couldn’t handle what happened with their son. That’s an enormous step backward for him. He has to be forced back into play by the new characters. This actually regresses him further than where he was in A New Hope. That was two movies and a few decades back, and even then, he turned around on his own.

Okay, so we could say his arc has been turned into a fall arc. Given that it ends with his literal death and fall, that would sound plausible. However, he begins trying to make amends with his family before then, and his death is almost more of a sacrifice, which makes his actions more noble. Notice I say “almost.” He is not the one in control of what happens. The pivotal moment isn’t his choice. It’s Kylo Ren’s decision and the turning point for his arc.

To be clear, the plot choice makes sense. As the start of a new trilogy, the new characters are the focus, so their character arc take precedence. But looking at Han Solo on his own, his story gets unraveled, then cut off before it can be tied back together. When compared to his original arc, it’s clear why many audience members were disappointed beyond just seeing a beloved character die. They were seeing a beloved character unmade.

Reversed Arc

The newest movie, Solo, is the earliest in his timeline. On the surface, it seems to make sense. It’s the story about how he became the jaded smuggler at the start of A New Hope. So the focus is on his descent into that life. He starts off in the same place his characterization ends in The Return of the Jedi: he’s a rogue, but he doesn’t leave anyone behind and is fighting to get back to a woman he loves. After a series of betrayals, he ends up running off in search of riches and being the guy who shoots first.

On its own, it’s not a bad arc. It’s a fall, but that’s a valid type. What makes it a bit odd is how it ties in with the other four movies. The original trilogy makes it clear that his default is selfishness, and he’s growing to overcome it. Even the flawed arc in The Force Awakens hammered that home by having him retreat into it when everything goes wrong. By having him start heroic, Solo undermines the learning he goes through later to become less selfish because he didn’t actually have to learn to be heroic; it was already in him.

The Big Picture

All together, when you look at his arc over five films, he lacks a clear arc. He starts heroic, then falls into selfishness, then grows into heroics again, then is selfish, then sort of halfway makes amends before dying. It’s a bit exhausting! His original trilogy growth arc is easier to follow and decern the point of.

Next Time

Join us next week to look examine transformation arcs through Katniss Everdeen in The Hunger Games.

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Character Arcs

What are they? Why are they important?

Brandi Spencer (formerly B. C. Marine), Secretary-Treasurer Authors 4 Authors Publishing

Oh, look. Another article about character arcs. They aren’t hard to find online, so why did I write one? Because they’re too important not to discuss! A character arc gone wrong can destroy an otherwise interesting story. So let’s do something a little different. For the next few weeks, we’re going to look at disappointing character arcs from famous movies and compare them to well-done examples.

If this sounds a little cruel, fear not. This won’t be character bashing time. All these characters are otherwise beloved or well-written. For one, the goal is to learn, not mock. And two, while it’s easy to pick apart a bad character, it won’t tell us much about their arc as a specific story component.

But for today, let’s define what a character arc is and what it does.

Defining the Journey (or Lack Thereof)

Most people are familiar with plot, the external journey and sequence of events that the characters go through. A character arc is like the internal version of a plot. It charts the emotion and personality of a character over the course of a story. There may be some twists and turns along the way, and the journey is different for every character, but when looking at the overall trend, there are four types of arcs. Each of these will be explored deeper over the next few weeks, but here are the basics:

Growth

This is the most common arc in most fiction. The character has glaring flaw at the start of the story, and by the end, they’ve overcome or softened that flaw. They’re a little less selfish or angry, or maybe they’re more optimistic. In children’s fiction, this will be pointed out as the obvious moral of the story, but complex narratives use this arc as well, usually for a more subtle shift.

While it’s seen everywhere, it’s almost a requirement for women’s fiction and romance, where the stories are character-driven and typically positive.

Transformation

Here, the character must fundamentally change to become someone else by the end. This is very similar to a growth arc, and some people might argue that they’re the same thing, however, there are two good reasons to separate them. First, a transformation arc is, by necessity, a massive change, while a growth arc can be slight. A person can grow without completely changing who they are. Second, a transformation isn’t always about a flaw. A character may be a perfectly lovely person at the start of a story but need to become someone else to fill their new role in life.

Transformation arcs are a staple of young adult (YA) fiction and “chosen one” stories. In YA, as the characters come of age and transition into adulthood, they obviously can no longer be who they were as children, a character who is “the chosen one” usually isn’t ready for the responsibility at the start and must transform into someone else to complete their goal.

Fall

This is the arc seen with villains or with the protagonist in tragic tales. It is the opposite of a growth arc. The character may start off not-so-bad or even good, but their fatal flaw, instead of being overcome, overcomes them. They may climb to lofty heights over the course of the story and can seem to prosper up until the end, but they will lose it all. It could be friends, family, money, or even their life, but something will be lost.

Horror and crime use fall arcs frequently. Gothic literature features them almost exclusively. A strong fall arc can demonstrate a moral even more effectively than a growth one.

Flat

Yes, it’s an oxymoron, but flat arcs have a purpose, and it’s not just a way of saying a character lacks an arc. A character without an arc is inconsistent, and where they end up has little or no relation to where they started. A character with a flat arc ends up where they started, and there are two ways this can happen.

The most common flat arcs are with static characters. A static character is steadfast in their personality. They are resistant to change. These are common in mystery or adventure because the plot is the most important thing, and a static character provides the constancy to let that shine.

There are also complex flat arcs with dynamic characters. A dynamic character is one who changes, and all the other arc require one by nature, but occasionally, a dynamic character can have a flat arc. They may step off the path at moments and seem to start one of the other three arcs, but they ultimately stay who they are. This can be positive or negative, depending on what is tempting them to change.

A Note on Spoilers

One thing to keep in mind with any character arc, but especially fall versus growth, is that where the character ends up is the key. A character may hit rock bottom, but if they learn and change their ways at the end, it’s a growth arc, no matter how far they initially fall. And the reverse is true: no matter how much a character attains, it’s a fall arc if they lose it at the end.

You cannot tell what an arc is until it’s finished. Because the end is so crucial to defining an arc, any character arc analysis will always have spoilers. So that nobody is caught unawares, I will post a list of discussed works at the start of each post for this series.

So What?

Why are arcs so important? As I said in the beginning, an arc can make or break a story. We rarely notice good arcs unless they’re heavy-handed, but a bad arc will leave readers and audiences dissatisfied, even if they can’t pinpoint why. As we look at what works and what doesn’t, the rest of this series will demonstrate that.

Next week, we’re going to start with growth arcs, analyzing Han Solo from the Star Wars franchise. Which movies did well with his arc, and which ones didn’t?

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