The Redemption Story has a structure of its own. Specifically American in origin, the redemption plot is now seen across the globe. This is a story common to fiction and non-fiction alike.

[R]edemption in particular is a popular, and particularly American, narrative. “Evolving from the Puritans to Ralph Waldo Emerson to Oprah Winfrey… Americans have sought to author their lives as redemptive tales of atonement, emancipation, recovery, self-fulfillment, and upward social mobility,” McAdams writes in an overview of life story research. “The stories speak of heroic individual protagonists—the chosen people—whose manifest destiny is to make a positive difference in a dangerous world, even when the world does not wish to be redeemed.”

The Bible might be sold as a short story collection subtitled ‘Stories of Redemption’. Inside we have standout examples such as:

  • The Story of Noah
  • Abraham and Isaac
  • Ruth
  • Potter
  • Lost Sheep
  • The Prodigal Son
  • Saul of Tarsus

Jonah Lehrer (or was it?) writes that the Redemption Story is very powerful in American politics, also:

  • Ben Franklin went from being a fugitive teen in Philadelphia to the founder of a nation
  • President George W. Bush was “born again” after years of drinking and troublemaking
  • John McCain was a prisoner of war

It applies to some of the best-loved American celebrities:

  • Lehrer also mentions Oprah Winfrey, who had a troubled childhood
  • Drew Barrymore was a child star who came through addiction
  • Nicki Minaj grew up in a violent home in Queens

The redemption story is American optimism—things will get better!—and American exceptionalism—I can make things better!—and it’s in the water, in the air, and in our heads. This is actually a good thing a lot of the time. Studies have shown that finding a positive meaning in negative events is linked to a more complex sense of self and greater life satisfaction.

The opposite of a ‘redemption story’ is known as a ‘contamination story’. Contamination stories end on a tragic note.

The trouble comes when redemption isn’t possible. The redemptive American tale is one of privilege, and for those who can’t control their circumstances, and have little reason to believe things will get better, it can be an illogical and unattainable choice. There are things that happen to people that cannot be redeemed.

Barbara Ehrenreich criticises this mindset throughout her book Smile Or Die.

It can be hard to share a story when it amounts to: “This happened, and it was terrible. The end.” In research McLean did, in which she asked people who’d had near-death experiences to tell their stories to others. “The people who told these unresolved stories had really negative responses,” she says. If there wasn’t some kind of uplifting, redemptive end to the story (beyond just the fact that they survived), “The listeners did not like that.”

The most popular and memorable Hollywood movies end on a positive note, even when they end in tragedy. In children’s literature, there seems to be a rule that if the story doesn’t have a happy ending, the story must nevertheless end with a sense of hope. It is almost impossible to find a published children’s story which does not follow this rule.

— quotes are from an article on narrative psychology in The Atlantic

THE TYPICAL STRUCTURE OF A REDEMPTION STORY

Dan McAdams, a psychologist at Northwestern University, wrote a book called George W. Bush and the redemptive dream: A psychological portrait. New York: Oxford University Press. McAdams specialises in the psychology of redemption. He also wrote The Art and Science of Personality Development, which includes a chapter called “Generative Lives, Redemptive Life Stories”.  

Whether fiction or non-fiction, he explains what a redemption story looks like:

  1. EARLY ADVANTAGE  —  the protagonist becomes aware of their special blessings; they feel marked from the start
  2. SENSITIVITY TO SUFFERING — the protagonist describes how they noticed the unfairness of the world
  3. MORAL STEADFASTNESS — the protagonist lives their life guided by a strong sense of right and wrong
  4. REDEMPTION SEQUENCES — moments in which a significant mistake or hardship – addiction, divorce, unemployment, etc. – becomes a means to absolution and grace, or what McAdams describes as the “deliverance from suffering to an enhanced status or state”
  5. EDUCATION PROVIDED BY THE HARD TIMES — the protagonist commits to “prosocial goals” and tries to “improve the lives of other people”

Here’s a Christian way of putting it. I’ve annotated with common writing terminology:

The Bible portrays the behavior of mankind cyclically. [CIRCULAR PLOT SHAPE] From a high point of alignment with God’s character and will, man’s conduct deteriorates and sin increases. [PSYCHOLOGICAL AND MORAL WEAKNESS] Sin’s natural fruit is confusion, pain and suffering,[MAKE YOUR MAIN CHARACTER SUFFER HARD] and these grow as individuals and societies move farther from their Creator. As sin increases, harm increases. Eventually the pain reaches a point where people yearn for salvation. [BATTLE] God raises up a man or woman, a deliverer, to lead the people back to Him; to help them realign with His will. [SELF REVELATION] Through this deliverer, the Lord brings people back to Him. [NEW EQUILIBRIUM] This is the Cycle of Redemption.

M.D. Harris

Let’s see how the structure of a redemption story lines up with the basic narrative structure suggested by storytelling experts.

  1. WEAKNESS/NEED — in fiction, protagonists need something wrong with them at the beginning. The hero of a redemption story is more like a superhero in that they have special powers which cannot be realised due to external factors. There’s nothing necessarily wrong with them, personally.
  2. DESIRE — the hero in a redemption story starts to desire a different world because they have noticed injustice all around them.
  3. OPPONENT — the opponent is the society
  4. PROBLEM — mistakes and hardships — addiction, divorce, unemployment, etc.
  5. BATTLE — I’m guessing that’s described, too. How hard it was to overcome such hardships.
  6. SELF-REVELATION — corresponds directly to the redemption sequences
  7. NEW EQUILIBRIUM — ‘the protagonist commits to prosocial goals’

BELIEVE IN YOURSELF

One of the main messages to come out of America is: ‘Believe in yourself and you can do anything you set your mind to’. Many American children’s books express that message in the subtext.

Why are such stories so popular? Lehrer speculates that these redemption narratives ‘better prepare us for the “hard work and daunting challenges” of the well-lived life’.

To care for someone, or to agitate for social change, or to try to make a positive difference in the world, is to commit to a long struggle, a marathon in which success is mingled with failure and triumph is mixed up with disappointment. In order to not give up, it helps to have a life story in which pain is merely a precursor to wisdom, and every struggle an opportunity for growth.

EXPORTING THE DREAM

The Redemption Story can no longer be described specifically American. Dan Hade goes into the extent to which American stories have spread across the globe. The USA has been exporting its stories for several generations now, and it seems the most popular story worldwide resembles some version of the redemption story.

Harry Potter is a British example. In  Harry Potter and the Chamber of Secrets Harry feels unworthy of the House of Gryffindor. By the end of the story, Harry has all the proof he needs that he truly belongs in Gryffindor. Ron and Neville also learn to believe in themselves.

2017 update: Is it any wonder so many Hollywood movies are about terrible men seeking redemption? We’re continuing to see them, by the way. Maybe the post 2017 era will see fewer of them. One of the most egregious examples of 2017 is Godless. See this review for more on that, and save yourself the trouble of suffering through it.