K.M Weiland, author of Creating Character Arcs, has this to say
about the flat arc:
… the flat arc is about a character who does not change. He already has the
Truth figured out in the beginning of the story, and he uses that Truth to
help him overcome various external tests.
The Third Act is where we find arguably the greatest similarities between the flat character arc and the positive change arc, since in both types of story the protagonist will have a full grasp on the Truth by this point. The primary difference, of course, is that the protagonist in a flat character arc will have already been in possession of that Truth almost universally throughout the story.
Hmmm. Did that make sense
to you? I had to read it a couple of times to get the gist. The “Truth figured
out in the beginning”? The “Lie embedded in the world around him”? So, I kept
reading other resources to find out more. As I read, I encountered additional
phraseology that I had to puzzle out. Terms like “Crucial Element”, “Focus
Element”, “Direction Element”, and more!
Weiland writes that “the
fundamental principle of character arc is lie vs. truth.” The Lie the character
believes and uncovers in a change arc is under the radar. It is a bedrock
belief the character holds. “I’m worthless.” “I’m God’s gift to women.” And so
on. That misconception is revealed and dealt with (the Truth), thus effecting
character change. This Lie needs to be connected to the story organically. If
the story problem and the Lie don’t connect, the story is not as compelling.
In the flat character arc,
this doesn’t play out. There are still Lies and Truths, they just don’t affect
the story solution substantively. Remember, the Steadfast Character knows the
truth from the beginning.
It turns out that the flat
character arc goes by many names and is the second most used arc for main
characters. You might see it referred to as the “testing arc” or “Main
Character Resolve”, or “Steadfast Character.”
It also turns out that the
Steadfast Character tends to see the story conflict not as “me against the
obstacle”, but rather views the obstacle as the problem by itself, apart from
the Steadfast Character. The Steadfast Character moves elements around in the
story to restore balance and is unaffected by the move of elements, though the
story is impacted for the better.
Most antagonists in our books have flat character arcs. They are who
they are. They have a job to do—disrupt the life of the main character—and they
do it without changing who they are or seeking/gaining insight into themselves
or others. We’re not surprised by the lack of growth of the antagonist, in
fact. We expect it.
But many protagonists also
demonstrate a flat character arc, and we’re fine with that in a deftly handled
story. Think Kinsey Milhone, PI, the main character in Sue Grafton’s Alphabet
mysteries. Kinsey knows who she is and what is True. There is little character
change within and across books, but she uses her character traits to solve the
crimes. Her moral compass is clear to her as are her talents. She gets ‘er
done!
Dramatica.com, in their
dictionary of terms, says a steadfast character “ultimately retains his
essential nature from the beginning of the story to the end of the story.” They
also go on to state, “There will only be one Steadfast Character in every
story.”
That’s very directive,
isn’t it? I wonder why that is the case. Maybe because conflict is not deeply developed
when two major characters remain unchanged by events and circumstances?
Or the story conflict could
be developed when the two steadfast characters are on opposite tracks. If one
is on the right track, and won’t change but has to deal with someone on the
wrong track, who also won’t change, isn’t that conflict enough? I wonder what
it would be like to write a story flouting the “rule” of only one steadfast
character? One would have to “win” (whatever winning would mean), so why not?
However, in that scenario,
each Steadfast Character would have the Truth from the beginning and each have
the Lie, so maybe that’s why it wouldn’t work. If both know the Truth, where is
the conflict? Aaarrgh! See why I am still confused and working on this
principle of only one Steadfast Character?
From what I’ve read, the
Lie must be uncovered and discounted by the Truth by the end of the story.
Maybe that’s not possible with two Steadfastians!
One important aspect of the
Steadfast Character’s possession of the truth early on is the role of doubt.
Perhaps the character isn’t 100% sure of the Truth or has trouble accepting the
Truth to move on in life. Adding in doubt, even if fleeting, includes a new
level of tension. Being open to questioning Truth is human and can result in
second guessing or hesitating at critical moments in the story.
One important role for the
Steadfast character is shis possession of the Truth inspires and props up
others. Also, by the end of the story, though heesh may have had doubts or even
wondered if the Truth were worth the battle, the Steadfast character will come
out on the other side believing in the Truth even more strongly and support others
in believing it, too.
The Steadfast Character
sounds like a very interesting challenge, encouraging the writer to delve even
more deeply than the positive character arc requires.
Have you written a flat
character arc story? Tell me aobut it in the comments section.
Bloggers rely on readers. I
would be very appreciative of shares to your social media outlets. Here are
some copy/paste messages for easy sharing.
Facebook:
What in the heck is a “flat character arc”? A “Steadfast Character”? Sharon
Arthur Moore is still learning, too, and she wants to share her current
understanding with you. http://bit.ly/2nOwfr7
Twitter:
@Good2Tweat is learning about Steadfast Characters. Come see what she’s
discovered. http://bit.ly/2nOwfr7
No comments:
Post a Comment