Not all characters change in stories, but some sort of change must happen.
Michael Hauge uses the term ‘transformation’, and not every transformation is a character arc for the main character (however that is defined).
This transformation will occur on four different levels. The first three are:
Your hero’s external circumstances will change. She (or he) might be wealthier, more powerful, more successful, more admired; she’s is in a new relationship; she is no longer threatened by the villain or demon or disease she overcame; or (if she was unsuccessful) she might be alone, or disgraced, or deceased.
Your hero has changed internally. The arc of her inner journey might have made her more courageous, more loving, more moral, or (whether she succeeded or failed) wiser.
The world around your hero has changed. Her courage and sacrifice has made those around her safer, happier, wiser, more loving or more courageous themselves.
The fourth transformation may be harder to recognize and achieve, but will be just as powerful: you, the storyteller, will change.Michael Hauge
Useful Concept: Range Of Change
How much does your main character change over the course of the story? This needs to be determined at the start of the writing process.
If studying a character rather than creating one, it’s a useful aspect to consider.
Bear in mind that some authors, famously Chekhov, do not create main characters who change, and this is the very point. Mad Men creator Matt Weiner has said the same thing about Don Draper, making the point that in real life, unlike in most popular stories, people just don’t change all that much.
The Two Forms Of Character Development In Fiction
While Michael Hauge provides us with a useful taxonomy of storytelling transformation, others divide character development into two separate categories:
- A text can provide new information about a character that causes readers to see the character differently and in more depth
- Or the events of a story can actually change characters, make them more complicated.
—The Pleasures of Children’s Literature, Perry Nodelman and Mavis Reimer
CHARACTER CHANGE THROUGHOUT THE HISTORY OF STORY
Character Change And The Development Of Novel Plotting
Ford Madox Ford, quoted by James Wood in How Fiction Works, pointed out that in older novels — especially those from England — the novelist would begin at the beginning and work chronologically through their character’s life, telling us all about their education and other influences.
But a new development in the novel meant authors avoided starting ‘at the beginning’. When it was discovered that novels in characters could change, it was interesting to depict that change on the page rather than explain it. Ford Madox Ford describes this new type of novel by explaining how “you meet an English gentleman at your golf club. He is beefy, full of health, the model of the boy from an English public school of the finest type. You discover, gradually, that he is hopelessly neurasthenic, dishonest in matters of small change, but unexpectedly self-sacrificing, a dreadful liar, but a most painfully careful student of Lepidoptera and, finally, from the public prints, a bigamist who was once, under another name, hammered on the Stock Exchange … To get such a man in fiction you could not begin at his beginning and work his life chronologically to the end. You must first get him in with a strong impression, and then work backwards and forwards over his past.”
The Influence of HBO
Brett Martin explains how cable TV change the way characters (don’t) change:
Nate [of Six Feet Under] has good intentions, but he’s an amateur jerk. He’s a selfish narcissist. And the tragedy is that he never transcends that. He never grows up,” Ball said.
That inability is another defining theme of TV’s Golden Age. If man’s big struggle with his inner demons defined The Sopranos, Six Feet Under, and their descendants, they also drew a crucial dose of their realism from the tenacity of that big struggle—the way their characters stubbornly refused to change in any substantive way, despite constantly resolving to do so. […]
It’s no coincidence that addiction is one of the major tropes of the Third Golden Age. Likewise, psychotherapy, with its looping fits and starts of progress and regression. Recidivism and failure stalked these shows: Tony Soprano searches for something to fill the gnawing void he feels; he fails to find it. Jimmy McNulty [of The Wire] swears off the twin compulsions of booze and police work; he goes back to both, while the rest of The Wire’s most zealous reformers find themselves corrupted. The specter of Don Draper’s past infidelities comes to him in a fever dream, in the person of an old conquest. And though he literally chokes the Beast to death, we, and he, know she will be back. […]
“Everything changed” after 9/11.”
“‘I’m going to be different. I’m so lucky to be alive. I’m going to value things more, do things differently….’ That’s what it was all about,” said [David] Chase of the period immediately following the terrorist attacks. “But then it sort of faded away.” Or as Tony Soprano morosely put it, “Every day is a gift. It’s just…does it have to be a pair of socks?” […]
the goal of a TV show, unlike that of a movie or novel, no matter how ambiguous, is to never end. One way to address that basic economic mandate is to create a world in which there is no forward progress or story arc at all, just a series of discrete, repetitive episodes—In other words, the procedural. But if you’re interested in telling an ongoing story while remaining true to your own sense of the world, it helps for that worldview to be of an endless series of variations in which people repeatedly play out the same patterns of behaviour, exhibiting only the most incremental signs of real change or progress.Brett Martin, Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad
CASE STUDY: A CHARACTER WHO DOES NOT CHANGE
To know that one is being taught a lesson or at any rate given a message leaves one free to reject it if only by dismissing plot or characters as cliches. But I had not realised how far the moral assumptions of film story-telling had sunk in, and how long they had stayed with me, until in 1974 I saw Louis Malle’s film about the French Occupation, Lacombe Lucien.
Lucien is a loutish, unappealing boy, recruited almost by accident into the French Fascist Milice. He falls in with and exploits a Jewish family, becoming involved with – it would be wrong to say falls in love with – the daughter, whom he helps to escape and with whom he lives. Then, as the Liberation draws near, he becomes himself a fugitive and is eventually, almost casually, shot.
The stock way to tell such a story would be to see the boy’s experiences – witnessing torture and ill-treatment, falling for the Jewish girl – as a moral education in the same way, for example, that the Marlon Brando character is educated in On the Waterfront.
That would be the convention and one I’d so much taken for granted that I kept looking in the Malle film for signs of this instruction of the school of life beginning to happen. But it doesn’t. Largely untouched by the dramas he has passed through, Lucien is much the same at the end of the film as he is at the beginning, seemingly having learned nothing. To have quite unobtrusively resisted the tug of conventional tale-telling and the lure of resolution seemed to me honest in a way few films even attempt.Alan Bennett, from Untold Stories
CHARACTER DRIVEN CHILDREN’S STORIES
Stories about character change are called ‘character driven’. The inverse is ‘plot driven’.
There has…been a notable shift in Western children’s fiction, beginning in the 1960s, toward a more profound interest in character, toward psychological, character-oriented children’s novels. In many contemporary novels for children, we observe a disintegration of the plot in its traditional meaning; nothing really “happens.” There is no beginning or end in the usual sense, no logical development toward a climax and denouement; the story may seem to be arbitrarily cut from the character’s life, or is even more often a mosaic of bits arbitrarily glued together.Maria Nikolajeva, Rhetoric of Character In Children’s Literature
This isn’t to say plot is no longer of central concern.
From What Publishers Look For In A Children’s Book: An Editorial Perspective from Tina Nichols Coury
Is my plot compelling? Why will my readers want to turn the page?
- The story has “a great beginning,” “a well-crafted narrative arc,” and “a satisfying ending.”
- The story is built on “conflict,” “friction,” “tension.”
- The story has “internal logic,” “believability.”
- The story is “artful,” “crafted,” “rhythmic.”
- The story “invites the reader to turn the page.”
- The story creates urgency in the reader: “Must…find…out…what…happens!”
- The story is full of “clever twists.”
- The story is “exciting,” “compelling,” “fast-paced.”
- The story “is not didactic.”
I don’t want to lift too much, but if you go to the article and read the bit about ’emotional impact’, it’s clear — without it being named as such — that character development is also important in modern children’s literature.
When the [character] “change” feels beautiful … I think it’s because the character has confirmed what we’ve hoped or suspected all along. Maybe the character hasn’t changed at all, but rather has finally been put in a situation where her truest self can be revealed. … Stories, to my mind, are never about change. They are always and only about the possibility of change.Bret Anthony Johnston
If you’re in the middle of writing something and find that you’re second-guessing your thumbnail character descriptions, see The Always/Only Test by Andrea Phillips and realise you’re not the only one.
The stages of character change as broken down by psychologists, from Psychwriter
Why People Don’t Change Their Spots from Social Learning
In the phrase [“to find myself”] lurks the idea that the self is a pre-existing entity, a self like a Platonic idea existing in a mystic realm beyond time and change. No, rather an object like a nugget of gold in the placer pan, the Easter egg under the bush at an Easter-egg hunt, a four-leaf clover to promise miraculous luck. Here is the essence of passivity, one’s quintessential luck. And the essence of absurdity, too, for the self is never to be found, but must be created, not the happy accident of passivity, but the product of a thousand actions, large and small, conscious or unconscious, performed not “away from it all,” but in the face of “it all,” for better or for worse, in work and leisure rather than in free timeRobert Penn Warren