Hey guys! Just in case it isn't clear in the video: Character belief = their thoughts/stance/opinion/feelings about themselves, others, or the world. The belief will be altered or turned on its head through the novel's character arc. For example: "I'm only worthy of love if I'm perfect" might change to "I'm lovable the way I am." "The weak don't deserve my time" might change to "Everyone needs help sometimes." I tried not to get too verbose in this video, but I do have an article that goes into more depth about how the belief, motivation, and goal are connected to each other on my website: ellenbrockediting.com/2015/08/05/novel-boot-camp-2-creating-deep-realistic-characters/ Hope you find it helpful!
Thank you for making these videos! I'm learning how to be a DM and these are great for learning how to campaign build and make more immersive worlds and stories:)
Thanks for the videos. I'm writing a fantasy series that I hope will be several books. It's going to have lots of characters, so this definitely helps with keeping their stories interesting. If you haven't made such a video already, will you please make a video about handling multiple point-of-view characters in a novel series?
Thanks for that link. I'm one of those people who did a lot of plotting before addressing all the roots and I've been struggling to make my large cast have individually good stories that meld into a cohesive whole ever since. I'm sure I'll still be bashing my head on walls for years having bit so much off for a first novel, but I'll be doing the "homework" for all my characters from now on.
This is very helpful, and something I’ve been struggling with. Do you know of any other materials/sources I can look at? The books I see on character arcs seem specific to creating drastic change in a character, but I am working on a series of crime books based around the same character, and I don’t want him to change so much that he’s unrecognizable. Thank you for these awesome videos!
I wonder if, through the flaw, the character himself can be the obstacle between himself and the goal that creates conflict in some scenes. Like if an insecure character can be an obstacle to himself in a given scene, for example.
I'd say this is the case in many, maybe even most stories. Characters need flaws to have an arc, and one of the best way to conceptualize that a flaw exists is to have it impede the plot.
@@MrPenguinFingers I believe that's correct. But as stated in the video, I think I agree that flaws shouldn't change drastically through an overarching series of novels. Otherwise you might run into the possibility of becoming melodramatic, or just plain old repetitious. That's not to say that flaws shouldn't change at ALL however, just that you have to be precise with when the change occurs rather than spamming character changes in every novel.
Bilbo totally did NOT want ANY adventures, thank you very much. but that one time he gave in he inadvertently inspired Frodo's love for adventures which enabled him to save the world. and Frodo's hindrance wasn't so much himself as it was all the obstacles thrown in his path by the ring.
Thankyou! The second way of plotting your arcs pointed me in a directon on how to plot for "infinite" comic book series. I wish you could talk more about it.
6:05 I have a character that’s main arc revolves around trying to overcome a sense of fear that’s plagued him since his father was killed. He won’t “lose” his fears, but he’ll become able to face it as he faces bigger and more dangerous foes. Is this arc okay, or does it change the character too much? Also, another one of my characters’ main arcs is about her overcoming her hatred for an antagonist, and putting away her need for vengeance. Again, she doesn’t “lose” her hotheadedness, she just learns to control it when it has dire consequences. Is this arc okay?
This is an excellent video. It's given me pause for thought on a current character I'm working on, it has also made me think of characters in a different story I would like to write when it comes to their protagonists. Hint the main character is kidnapped in the first chapter and is forced to work for a branch of the military. I think IRL there's been at least a hand full of indie bands who suddenly got popular and had to go on hilarious to cope with it.
Definitely have a new subscriber and a like. :). Your videos, along with Jenna Moreci, The Authentic Observer, and Lily C Read's, are my favorite RUclips/Author videos. :).
I was just about to ask this question. I'm writing a series but not exactly. Think Sherlock Holmes or Fr. Brown, but then some theme to hold it together as one whole. As I am a discovery writer and have no idea how many books could evolve from this, the question of the character arc building through the novels was on my mind quite a bit. Good advice as always, Ellen!
I'm so glad you're back, really enjoy watching your videos and I find them really helpful. By the way you've inspired a character in my own story (if it is ever written)
Something you didn't mention, which I think can work in an ongoing series, is the so-called _flat arc_ . What if the protagonist's beliefs are set in stone, and it's the world around them that's forced to change? This would probably be easier to implement in something that's episodic, rather than a serial. But I mention it because that's what I'm currently doing. I've set things up in a way that the protagonist is thrown into wildly different environments with each story, and no way for the previous environment/society to even be aware of the current one the hero finds himself in. There's still a subtle overreaching arc, but the hero is essentially fully developed by the end of the first book. It's the protagonist being thrust into someone else's world, and the problems in it, where the real story is.
Fantastic episode. Struggling with this very issue right now. The antagonists negative arc (average joe, slowly descending into a more evil character but certain he is saving the world over five books) was fairly straightforward, but figuring the protagonist and close friends seemed hard, but you have given me the key and several starting points. Part of my problem is I prefer Utopian Sci Fi, so the antagonist is the resistor of change which is different to what many example plots assume.
Amazing video Ellen ! I have a question though, can a character arc totally fail ? For example in the story that I'm writing, one of the main characters was forced to kill a baby (how great) in order to basically save everyone else, but then after that, he realized that he killed the baby for nothing. So the character arc after that is him trying to not be submerged with guilt and everything, trying to live with what he did, but I wanted that to fail completely and end the arc with the death of this character. Is this a good idea, or is the reader going to feel like the whole journey of the character was pointless ? That this is a frustrating and undeserved ending for this character ? I wanted to show that life isn't always "fair", that bad things can happen to good people, that some people can't overcome depression/despair, etc... I really would like to have your opinion on the matter !
Arnaud Payne I like that. I am in a similar situation with a character of mine. Coincidentally she too became a child killer near the end of the story. She had children with a demon and in a few years the children manifested murderous intent. In the end, my character chooses humanity over demons. The whole story is in fact such a struggle. Even the girl my protagonist has perceived as a sister her entire life is a demon (daughter of my protagonists' demon lover and secretly the one who emancipated the little demon kids' desire to kill, out of spite) and the two women have been at odds since girlhood. A third party villain will strike from the shadows in the final arc, cause massive doubt and suspicion, and the story ends with the two women killing each other in a final duel. Basically my main character has been mistrusted by her only family, the demon girl for whose sake she was willing to sell her own soul, she was seduced by a grown up demon at 18 (though mentally she was kinda younger, having been locked in an asylum for 7 years), lost the family fortune, had the demon babies, was forced into low status labour, the demon girl harassed her on a constant basis and rejected her human love, finally met a nice guy she was afraid to confess to, she had to kill her own demon children, everyone blamed her, except the nice guy she finally marries, villain pulls the strings from the shadows, demon girl kills the nice guy, my character finally/again but this time 100% goes crazy with grief and goes for the kill. Just like you, I wonder if there's a point to it. It just feels right to have all those consequences though. My character's fault is not being daring enough to make peace with demon girl, instead of hoping things will work out by themselves.
IchibanOjousama I would read both of those stories, but I am different from the rest of society. I suggest getting opinions from people who did not know you were writing a book, such as a librarian. That way, you can be sure a few people like it before you go to publish. Just my thoughts, hope I yelled a bit.
I think in both those stories where they kill themselves, it should be because they really do feel and recognize not only their inadequacy, but also that they're the ultimate cause of everything that went wrong, and they are making up for it by committing suicide, which will actually somehow stop the terror. If their deaths don't solve anything, then there is no resolution and it will be VERY unsatisfying to the reader. Your readers will become little Isaiahs, calling for better decisions on the protagonist's part rather than despairing last-ditch sacrifices to make up for it...
Arnaud Payne working towards a “moral” is never a good idea, and frankly, hackish. If you ever find that you’re setting things up for some later great revelation, stop! Tell the story one true sentence at a time.
Arnaud Payne yes, Is a really good one, but I could suggest that his death has some influence later on in the series and suggesting that at the end of the arc because you can pull the reader to think that you, as writer wanted him dead. Try to make that his death has some significant beyond morals and death.
You mean that believes have a tendency to change more often compared to flaws? I hadn't thought about that opportunity if that is what you meant. Thanks for these insights!
An idea I am going to try is to give the mc many flaws, and categorize them from worst to most mild. Then by the end of one book one of those flaws should be overcome. Probably the most mild. Then to strengthen the character over time I might take that overcome flaw, invert it and turn it into a new strength somehow.
0:59 you actually can if done correctly. This is the best way to humanize your characters. Take a look at Back to the Future 2, where Marty gets mad whenever he's called Chicken. This was not a flaw present in the first film, but was introduced in the second one, and it still works.
One method i really like was what Emily Rhodda did in Deltora quest, at the end of the first book the main character is revealed to be the rightful king and all that jazz, than in the second book his character arc shifts so that he's now trying to have his cousin succeed him so he can keep going on adventures with his friends, but they dont realise this, and they think he's trying to cut all ties with them and move on, its pretty nifty.
The example you give of how to move on with a character who "saves the world" is exactly what the Mass Effect videogame series did brilliantly with Commander Shephard's character. Old friends not trusting her, her wondering why people are interested in her, dealing with fame and public life in general...
So cool! Thanks. I have a question about writing a series: can you initially plan to write a stand-alone novel, then get the idea to write a sequel, or multiple sequels? Or is it better to plan from the get-go if you want to write a series?
Hi! Have you heard of someone writing a long novel, then realizing it can be divided into 3 books at about 60K per book? It would be the one character arc type of trilogy. I didn't plan it that way yet looked long and found points where I could end book one and book two that leads on to book three ending as my main novel does.
I think I'm doing both overarching and book specific character arc for my main. I have his journey generally mapped out. He has a central goal throughout, but in the end of the first book he will regain something he thought lost and spend the second of three books trying to protect it. By the end, he loses it again and spends the third book in a serious depression. I have a question about trilogies. Is it too cliche to have the second part end with a downer a la Empire Strikes Back? Because I'm planning on the end of my second book being seriously depressing for every character.
Ellen Brock, I am working on a book series where one of my characters goes from being a mischievous fee spirit to being an inspiring idealist. I know what events are going to make her become more of an idealist, but I'm not sure how to set the groundwork that will build up to that moment. Do you have any suggestions?
Oh! The DragonballZ problem? Got it!! (You can have your characters go through multiple massive moments of character growth; you just need to add dimensionality to their world every time in order to do so😅👍)
I think I'll make a separate series on the character arc after Novel Boot Camp is over because it's a bit difficult to explain. In essence, you would have the central plot force the character to confront their flaw. This is especially important at the climax of the story when the character should reject their flaw/belief through some sort of sacrifice. The sacrifice can be as abstract as letting go of a previous way of life or as concrete as giving up money or a coveted object. The character chooses to do what is "good" instead of falling to their flaw/belief (assuming that the character is having a positive arc and not a negative arc). Hope this helps!
Thank you so much for replying! I've been following you for a while and I love your videos. You've given me something more to think upon. Do you have any further tips for plot? I seem to have a good handle on my characters story arcs but no actual plot to center the main story on. If that makes sense?
Can the protagonist have two character arcs? Ex: guilty over death of friend and she could have saved turning into motivation for getting revenge from antagonist. And the antagonist going from hiding and keeping herself hidden, to fighting for her freedom of being forced to hide and stay low....
I have a relatively unique idea for book that involves three protagonists and a family and organization of antagonists. How would I wrote an arc for groups or teams or families?
In my Divine series, I plan to have 3 books before I go into a prequel series. There are 3 main characters and I've been having a raging debate and decided to kill off the female character, Itishree, at the end of book two. Do I need to have her arc peak before she's killed or should I let her die with an unfulfilled arc?
Ellen, your videos and your writing advice are some of the best I have seen here on youtube. Because you do such a good job, many viewers will assume everything you say to be correct, which gives you an increased responsibility to get things right. Therefore, please, please, please stop mispronouncing the word "overarching". It is pronounced over-ARCH-ing, not over-ARK-ing. You are not the only youtuber I have heard mispronounce this word, but the others have not been as credible as you are, and therefore less likely to mislead others into this mispronunciation.
I'M LOOKING AT YOU: "BACK TO THE FUTURE 2" Yes, Marty, I'm calling you "chicken". You never had this problem in the first movie. Why do you have it now? Make like a tree, and get of here Mcfly!!😄😄😄😄😄😂
Hey guys! Just in case it isn't clear in the video:
Character belief = their thoughts/stance/opinion/feelings about themselves, others, or the world.
The belief will be altered or turned on its head through the novel's character arc. For example:
"I'm only worthy of love if I'm perfect" might change to "I'm lovable the way I am."
"The weak don't deserve my time" might change to "Everyone needs help sometimes."
I tried not to get too verbose in this video, but I do have an article that goes into more depth about how the belief, motivation, and goal are connected to each other on my website: ellenbrockediting.com/2015/08/05/novel-boot-camp-2-creating-deep-realistic-characters/
Hope you find it helpful!
Thanks!
Thank you for making these videos! I'm learning how to be a DM and these are great for learning how to campaign build and make more immersive worlds and stories:)
Thanks for the videos. I'm writing a fantasy series that I hope will be several books. It's going to have lots of characters, so this definitely helps with keeping their stories interesting. If you haven't made such a video already, will you please make a video about handling multiple point-of-view characters in a novel series?
Thanks for that link. I'm one of those people who did a lot of plotting before addressing all the roots and I've been struggling to make my large cast have individually good stories that meld into a cohesive whole ever since. I'm sure I'll still be bashing my head on walls for years having bit so much off for a first novel, but I'll be doing the "homework" for all my characters from now on.
This is very helpful, and something I’ve been struggling with. Do you know of any other materials/sources I can look at? The books I see on character arcs seem specific to creating drastic change in a character, but I am working on a series of crime books based around the same character, and I don’t want him to change so much that he’s unrecognizable. Thank you for these awesome videos!
I'm so glad you keep the "H" silent in "Overarching." It's a huge peeve of mine when people say "OverARCHing" like they're under a McDonald's sign.
«Don’t change their personality, change one of their beliefs» (summarised) Thank you, that was exactly what I needed to hear :D
Oh yeah... My book. Thanks for making videos again Ellen.
Don't forget your book. Just a reminder.
Arent you awesome! Thank you...
I wonder if, through the flaw, the character himself can be the obstacle between himself and the goal that creates conflict in some scenes. Like if an insecure character can be an obstacle to himself in a given scene, for example.
I'd say this is the case in many, maybe even most stories. Characters need flaws to have an arc, and one of the best way to conceptualize that a flaw exists is to have it impede the plot.
@@MrPenguinFingers I believe that's correct. But as stated in the video, I think I agree that flaws shouldn't change drastically through an overarching series of novels. Otherwise you might run into the possibility of becoming melodramatic, or just plain old repetitious. That's not to say that flaws shouldn't change at ALL however, just that you have to be precise with when the change occurs rather than spamming character changes in every novel.
Ron Weasley's character in Harry Potter novels
Bilbo totally did NOT want ANY adventures, thank you very much.
but that one time he gave in he inadvertently inspired Frodo's love for adventures which enabled him to save the world.
and Frodo's hindrance wasn't so much himself as it was all the obstacles thrown in his path by the ring.
Thankyou! The second way of plotting your arcs pointed me in a directon on how to plot for "infinite" comic book series. I wish you could talk more about it.
As you were explaining I was applying those techniques to the Divergent series, it's so easy to understand that way!
Awesome!
@@EllenBrock hi 👋🙌
@@EllenBrock high five!🤚🙌
6:05 I have a character that’s main arc revolves around trying to overcome a sense of fear that’s plagued him since his father was killed.
He won’t “lose” his fears, but he’ll become able to face it as he faces bigger and more dangerous foes.
Is this arc okay, or does it change the character too much?
Also, another one of my characters’ main arcs is about her overcoming her hatred for an antagonist, and putting away her need for vengeance. Again, she doesn’t “lose” her hotheadedness, she just learns to control it when it has dire consequences.
Is this arc okay?
Lol are you writing a book similar to mine?? I have similar feels but maybe more drastic.
Interesting, your second arc is similar to one of the characters I'm cureently writing!
This is an excellent video. It's given me pause for thought on a current character I'm working on, it has also made me think of characters in a different story I would like to write when it comes to their protagonists. Hint the main character is kidnapped in the first chapter and is forced to work for a branch of the military.
I think IRL there's been at least a hand full of indie bands who suddenly got popular and had to go on hilarious to cope with it.
Your videos are great and don't waste time. You get to the point and treat your viewers as intelligent adults.
Thank you so much for covering this topic! I already see where I went wrong on a few stories and I'm excited to push forward with this new knowledge
I'm so glad it helped!
Thank you so much for this! I have struggling with my characters' development throughout the series and this video was of great help. Thank you again!
Definitely have a new subscriber and a like. :). Your videos, along with Jenna Moreci, The Authentic Observer, and Lily C Read's, are my favorite RUclips/Author videos. :).
Thank you so much for making these wonderful videos for us. I truly appreciate them :3
Very thought provoking. I will view again to be certain that I got all of your points. But first, I am going to read your more in-depth article.
I was just about to ask this question.
I'm writing a series but not exactly. Think Sherlock Holmes or Fr. Brown, but then some theme to hold it together as one whole. As I am a discovery writer and have no idea how many books could evolve from this, the question of the character arc building through the novels was on my mind quite a bit.
Good advice as always, Ellen!
I'm so glad you're back, really enjoy watching your videos and I find them really helpful. By the way you've inspired a character in my own story (if it is ever written)
Something you didn't mention, which I think can work in an ongoing series, is the so-called _flat arc_ .
What if the protagonist's beliefs are set in stone, and it's the world around them that's forced to change? This would probably be easier to implement in something that's episodic, rather than a serial. But I mention it because that's what I'm currently doing. I've set things up in a way that the protagonist is thrown into wildly different environments with each story, and no way for the previous environment/society to even be aware of the current one the hero finds himself in. There's still a subtle overreaching arc, but the hero is essentially fully developed by the end of the first book. It's the protagonist being thrust into someone else's world, and the problems in it, where the real story is.
I've been struggling with this in my book. I want it to be a series but am not sure how long it will be so this was extremely helpful!
Thanks for posting this one, Ellen. It was great! :)
Fantastic episode. Struggling with this very issue right now. The antagonists negative arc (average joe, slowly descending into a more evil character but certain he is saving the world over five books) was fairly straightforward, but figuring the protagonist and close friends seemed hard, but you have given me the key and several starting points. Part of my problem is I prefer Utopian Sci Fi, so the antagonist is the resistor of change which is different to what many example plots assume.
I love your videos. They are so well made and concise, thank you for the work you do!
I love the way you explain it, Ellen. :)
How in the world are you not more popular on here?
I like the way you explain. The topics are well picked as well. Thank you! :)
Good advice.
Amazing video Ellen !
I have a question though, can a character arc totally fail ? For example in the story that I'm writing, one of the main characters was forced to kill a baby (how great) in order to basically save everyone else, but then after that, he realized that he killed the baby for nothing. So the character arc after that is him trying to not be submerged with guilt and everything, trying to live with what he did, but I wanted that to fail completely and end the arc with the death of this character. Is this a good idea, or is the reader going to feel like the whole journey of the character was pointless ? That this is a frustrating and undeserved ending for this character ? I wanted to show that life isn't always "fair", that bad things can happen to good people, that some people can't overcome depression/despair, etc...
I really would like to have your opinion on the matter !
Arnaud Payne I like that. I am in a similar situation with a character of mine. Coincidentally she too became a child killer near the end of the story. She had children with a demon and in a few years the children manifested murderous intent. In the end, my character chooses humanity over demons. The whole story is in fact such a struggle. Even the girl my protagonist has perceived as a sister her entire life is a demon (daughter of my protagonists' demon lover and secretly the one who emancipated the little demon kids' desire to kill, out of spite) and the two women have been at odds since girlhood. A third party villain will strike from the shadows in the final arc, cause massive doubt and suspicion, and the story ends with the two women killing each other in a final duel. Basically my main character has been mistrusted by her only family, the demon girl for whose sake she was willing to sell her own soul, she was seduced by a grown up demon at 18 (though mentally she was kinda younger, having been locked in an asylum for 7 years), lost the family fortune, had the demon babies, was forced into low status labour, the demon girl harassed her on a constant basis and rejected her human love, finally met a nice guy she was afraid to confess to, she had to kill her own demon children, everyone blamed her, except the nice guy she finally marries, villain pulls the strings from the shadows, demon girl kills the nice guy, my character finally/again but this time 100% goes crazy with grief and goes for the kill. Just like you, I wonder if there's a point to it. It just feels right to have all those consequences though. My character's fault is not being daring enough to make peace with demon girl, instead of hoping things will work out by themselves.
IchibanOjousama I would read both of those stories, but I am different from the rest of society. I suggest getting opinions from people who did not know you were writing a book, such as a librarian. That way, you can be sure a few people like it before you go to publish. Just my thoughts, hope I yelled a bit.
I think in both those stories where they kill themselves, it should be because they really do feel and recognize not only their inadequacy, but also that they're the ultimate cause of everything that went wrong, and they are making up for it by committing suicide, which will actually somehow stop the terror. If their deaths don't solve anything, then there is no resolution and it will be VERY unsatisfying to the reader. Your readers will become little Isaiahs, calling for better decisions on the protagonist's part rather than despairing last-ditch sacrifices to make up for it...
Arnaud Payne working towards a “moral” is never a good idea, and frankly, hackish. If you ever find that you’re setting things up for some later great revelation, stop! Tell the story one true sentence at a time.
Arnaud Payne yes, Is a really good one, but I could suggest that his death has some influence later on in the series and suggesting that at the end of the arc because you can pull the reader to think that you, as writer wanted him dead. Try to make that his death has some significant beyond morals and death.
You mean that believes have a tendency to change more often compared to flaws? I hadn't thought about that opportunity if that is what you meant. Thanks for these insights!
An idea I am going to try is to give the mc many flaws, and categorize them from worst to most mild.
Then by the end of one book one of those flaws should be overcome. Probably the most mild.
Then to strengthen the character over time I might take that overcome flaw, invert it and turn it into a new strength somehow.
0:59 you actually can if done correctly. This is the best way to humanize your characters. Take a look at Back to the Future 2, where Marty gets mad whenever he's called Chicken. This was not a flaw present in the first film, but was introduced in the second one, and it still works.
I think she was referring to introducing challenges too late into the series. An emotional challenge in the second part is not that bad
excellent thank you
Just wanted to take a minute and say thanks! I like your videos and I'm learning a lot. :)
This is the video I needed!! Thank you! No cute graphic T for this video ;)
My necklace didn't show up very well, but it's a feather and wand from Harry Potter!
Ahh okay!! I notice it now, seriously your videos are so well explained! I am really gaining from them
One method i really like was what Emily Rhodda did in Deltora quest, at the end of the first book the main character is revealed to be the rightful king and all that jazz, than in the second book his character arc shifts so that he's now trying to have his cousin succeed him so he can keep going on adventures with his friends, but they dont realise this, and they think he's trying to cut all ties with them and move on, its pretty nifty.
Boota weeb do you mean at the end of the first series? I’m pretty sure that was revealed in the last book of series one when he had all the stones
The example you give of how to move on with a character who "saves the world" is exactly what the Mass Effect videogame series did brilliantly with Commander Shephard's character. Old friends not trusting her, her wondering why people are interested in her, dealing with fame and public life in general...
This was so helpful. Thank you so much.
Thanks for the amazing video again! I was wondering if you had a video about formatting a manuscript?
You are so awesome! Thanks for sharing your knowledge in all of your videos :)
Thanks for another great video! Thanks!
Awesome content. ☘️
Thanks!
So cool! Thanks. I have a question about writing a series: can you initially plan to write a stand-alone novel, then get the idea to write a sequel, or multiple sequels? Or is it better to plan from the get-go if you want to write a series?
I'm glad you're creating more videos. Keep 'em coming, EB :^)
Nice video! Again :) I'd like see more text overlays and maybe pictures and such to make watching more interesting.
Loving these videos
You're baaaack! :D
Love your videos! 😊 Would you be willing to talk about how to create distinct character arcs while writing a duel pov stand alone?
with your every video you make, we see why the MCU is so good.
Q: what about world arcs?
Hi! Have you heard of someone writing a long novel, then realizing it can be divided into 3 books at about 60K per book? It would be the one character arc type of trilogy. I didn't plan it that way yet looked long and found points where I could end book one and book two that leads on to book three ending as my main novel does.
I think I'm doing both overarching and book specific character arc for my main. I have his journey generally mapped out. He has a central goal throughout, but in the end of the first book he will regain something he thought lost and spend the second of three books trying to protect it. By the end, he loses it again and spends the third book in a serious depression.
I have a question about trilogies. Is it too cliche to have the second part end with a downer a la Empire Strikes Back? Because I'm planning on the end of my second book being seriously depressing for every character.
sounds dope let me know when its done!
Ellen Brock, I am working on a book series where one of my characters goes from being a mischievous fee spirit to being an inspiring idealist. I know what events are going to make her become more of an idealist, but I'm not sure how to set the groundwork that will build up to that moment. Do you have any suggestions?
Thank you. Great advice, you seem like a very wise and talented young woman. Thank you
Oh!
The DragonballZ problem?
Got it!!
(You can have your characters go through multiple massive moments of character growth; you just need to add dimensionality to their world every time in order to do so😅👍)
How do you align character arcs with the novel's central plot?
I think I'll make a separate series on the character arc after Novel Boot Camp is over because it's a bit difficult to explain. In essence, you would have the central plot force the character to confront their flaw. This is especially important at the climax of the story when the character should reject their flaw/belief through some sort of sacrifice. The sacrifice can be as abstract as letting go of a previous way of life or as concrete as giving up money or a coveted object. The character chooses to do what is "good" instead of falling to their flaw/belief (assuming that the character is having a positive arc and not a negative arc). Hope this helps!
Thank you so much for replying! I've been following you for a while and I love your videos. You've given me something more to think upon. Do you have any further tips for plot? I seem to have a good handle on my characters story arcs but no actual plot to center the main story on. If that makes sense?
Can the protagonist have two character arcs? Ex: guilty over death of friend and she could have saved turning into motivation for getting revenge from antagonist. And the antagonist going from hiding and keeping herself hidden, to fighting for her freedom of being forced to hide and stay low....
You might want to review the camera's focus settings, the autofocus is messing the quality
P.S. I love your vids'!
I've adjusted the settings to try to improve this in future videos, though I'm struggling to find a substantial solution.
But wouldn't Harry's doubt be a minor flaw?
I have a relatively unique idea for book that involves three protagonists and a family and organization of antagonists. How would I wrote an arc for groups or teams or families?
can the character go backwards? Like a relapse or the removal of a curse brings on a new problem.
how about for companion novels? where the MCs of previous books still appear
In my Divine series, I plan to have 3 books before I go into a prequel series. There are 3 main characters and I've been having a raging debate and decided to kill off the female character, Itishree, at the end of book two. Do I need to have her arc peak before she's killed or should I let her die with an unfulfilled arc?
Lester Suggs Often, a character dying just as they are about to accomplish some kind of major change. It gives a sense of lost potential.
Like with Sirius Black (spoiler)
"You w2ant to go N NW, But the Arrow always points E SW?? Strange??? Do You follow the Arrow??"
👍🏻
Ellen, your videos and your writing advice are some of the best I have seen here on youtube. Because you do such a good job, many viewers will assume everything you say to be correct, which gives you an increased responsibility to get things right. Therefore, please, please, please stop mispronouncing the word "overarching". It is pronounced over-ARCH-ing, not over-ARK-ing. You are not the only youtuber I have heard mispronounce this word, but the others have not been as credible as you are, and therefore less likely to mislead others into this mispronunciation.
I'M LOOKING AT YOU: "BACK TO THE FUTURE 2"
Yes, Marty, I'm calling you "chicken". You never had this problem in the first movie. Why do you have it now?
Make like a tree, and get of here Mcfly!!😄😄😄😄😄😂
Evolution not Revolution.
Ah they shouldn’t have huge changes and emotional problems out of the blue... like Luke Skywalker?
“For the most part, You don’t want your characters to be unrecognizable. There are some circumstances where you might want to do this.” When?
Incremental character arcs = play any RPG.
"Chicken!"
you look like Sansa Stark
Oh, I am doing exactly this.
Check out guys (CHAPTER 1.2, LOL): www.wattpad.com/470905707-diary-of-omen-anna-1-2