Changing Characters: Evolution and Transformation

There’s a popular truism in fiction writing: rounded characters, and especially protagonists, need to change over the course of the story. Now, you might argue that characters don’t always need to change, or that you want to focus on other engines to drive your story. But let’s say you do want your character to change. You want that change to be believable, and you want that change to meaningfully affect or even drive your plot.

In that case, let’s talk about two strategies for making that character change happen: evolution and transformation.

Building Character Background

Characters usually don’t spring into existence at the start of the story. They have history, and that history should affect their current personality, their fears, and their goals. Characters need reasons to be who they are. This gives them depth and makes them believable.

If your character is going to change along the course of your story, they need to have a starting point — a steady state that gets disrupted by the events of the story, leading to change. For the change to make sense, the character has to start in one place, with certain ideas or point of view, and end up seeing things differently by the end.

By this logic, a character change can be broken down into four parts:

  1. The background that shaped the character before the story.
  2. The state of the character at the beginning of the story.
  3. The event(s) that change the character.
  4. The state of the character at the end of the story.

These parts don’t all need to be given equal attention. There may only be hints of the backstory. They also don’t have to be revealed in order. Many great villains initially appear to be unreasonably evil, until their background is revealed later in the story, humanizing them.

In my opinion, one of the easiest ways of figuring out character transformation is to start with #2 and #4. If you know where your character starts, and where they’re going, it’s just a matter of coming up with the reasons why they are the way they are, and the troubles you’re going to put them through to force them to change. However, you can really start with any of these and build out the others. It all depends on what aspect of the character comes to your first, or excites you the most.

Now, let’s look at the actual methods of changing the character during the story.

Sudden Transformation

The sudden transformation is the epiphany, the “ah-ha” moment, the shocking twist, or maybe even the sudden-but-inevitable betrayal.

The sudden transformation is a form of character change that happens all at once…or at least appears to. There is a particular event or short period of time where the reader sees the exact nature of the change. This is usually going to be an important point in the plot. If the character is a protagonist, it almost has to be.

This might be an event where the character’s strength becomes a weakness, or vice-versa. They may undergo something terrible and develop a debilitating fear, or they may be forced into a situation where the only way forward is to overcome their fear. The event might make the character’s goal obsolete, and introduce a new goal. Perhaps they wanted to save someone from the villain, but they failed, and the villain killed that person. Now they have a new goal: revenge.

Superheroes are great examples. Many super-heroes have a sudden transformation where they gain their super-powers and also undergo some event that gives them a reason to use those super-powers.

Peter Parker is bitten by a radioactive spider, and he can suddenly run up walls, shoot webs, and smack a bad guy with every limb simultaneously. His first instinct is to use his powers selfishly, but his uncle Ben is almost immediately killed by a criminal, making Peter realize that he has to use his powers to help others.

Let’s look at a more villainous example: the Darth Vader of the original Star Wars trilogy. Vader spends all three movies working to crush the rebellion and bring Luke to the dark side. Only at the very end, when Luke has pleaded with him and Vader sees his son about to die, does he kill the Emperor, sacrificing himself to save his son.

You may notice that most of these sudden transformations aren’t completely sudden. It often helps to throw in a few moments or bits of dialogue that lay groundwork for the change, essentially preparing the character for that vital moment. Peter Parker has conversations about responsibility with Ben before he dies. Luke repeatedly tries to convince Vader to leave the dark side before the final battle.

Slow Evolution

In contrast to the sudden transformation, where character change happens all at once, the slow evolution requires a longer series of events and revelations that add up to something larger than the sum of their parts.

The character may go through events, conversations and internal realizations that eventually lead to a change in perspective. The character may or may not realize that they’ve changed, but it should be evident from their words or actions that they’re behaving differently than they did before.

On the other hand, this series of small changes could culminate in a moment of realization when the change becomes clear, or impossible to ignore. This is often a decision point for the character. Whereas a sudden transformation comes as a shock that makes sense in retrospect, the slow evolution makes it clear that this moment is what it’s all been leading to.

To contrast with Vader’s sudden transformation, look at another character from the original Star Wars trilogy: Han Solo. Han starts out as a loner, worried about his own problems. He is willing to use people for his own ends, and he tries to avoid getting too close to others. However, Luke draws him into a rescue operation with the allure of a reward, and from there, he ends up entangled with Princess Leia and the Rebellion.

Han’s past catches up with him when he’s caught and imprisoned in Jabba’s palace, but it’s his friends who rescue him: proving once again that being a lone wolf is not a good strategy for him. By the third movie, we find that Han is not only a willing member of the rebels, but is marked as a leader and even volunteers to lead a dangerous mission that is vital to the success and survival of the rebels.

Alignment With the Plot

Characters don’t exist within a vacuum. They interact with other characters. They drive the events of the plot, and the events of the plot affect them in turn.

One of the most effective ways to make character change feel momentous to the reader is to make sure it aligns with the plot. In a traditional three act structure, this means that the most powerful places for character change to occur is at the boundaries of the acts.

Events at the beginning of the first act may influence or illuminate the personality of the character for much of the rest of the story. The end of the first act and the start of the second is typically a major disaster or setback that might cause a character to reevaluate (or double-down!) on their point of view. Likewise, the end of the second act and start of the third usually leads into the point of the story when things look bleakest for the protagonist, and when they are most likely to see a need for change, or have change foisted upon them. Finally, the end of act three is when the plot points resolve. This might be the culmination of a character’s change, when they have the opportunity to make a decision that really highlights the difference from the beginning of the story.

Change is Powerful

It’s always worth evaluating who your characters are, and how they change over the course of a story. Where do they start, and why? What do the events of the story do to them? Do they undergo a slow evolution, with many little points of change along the way, or a carefully foreshadowed sudden transformation? Look for opportunities to align the change with story beats, and use it to drive the action.

Characters have a history that affects where they start. They have experiences that affect who they are, and can subtly or fundamentally change them. Those experiences and that change are one of the reasons we read fiction, and some of the most emotionally impactful parts of a story when done well. Carefully crafted character change is one of the best ways to make characters spring to life, jump off the page, and endear themselves to readers.

Reblog: NaNoPrep: Signing Up and Getting Started — Connie J. Jasperson

Last week, I talked about the good and the bad of NaNoWriMo — National Novel Writing Month, where the goal is to write the entire first draft of a novel in the month of November. Now, November is almost upon us. Are you going to participate?

If you’re on the fence, or you’re just not sure where to start the whole process, take a look at Connie J. Jasperson’s latest NaNoWriMo prep post for a guide to getting a project set up on the NaNoWriMo site.

If you don’t like to plan, you can just start writing after Halloween midnight. If you’re an inveterate planner like me, that strategy might feel overwhelming. Luckily, Jasperson has you covered, with an entire series of NaNoWriMo prep posts linked at the bottom. They’ll get you figuring out your setting, characters, story arc, and more.

Check it out on Jasperson’s blog, Life in the Realm of Fantasy…

Reblog: “On the Many Different Engines That Power a Short Story” — Lincoln Michel

We’ve talked in the past about engines that power story: types of conflict and creating and resolving tension. Today, I want to point you to Lincoln Michel’s great article about the false dichotomy between character-driven and plot-driven fiction. Lincoln argues that there are an almost infinite number of engines that can drive a story, and that any single one is rarely enough to power even a short story on its own.

The hard thing about writing—or one of the hard things in the endless series of hard things about writing—is that there’s no one way to do it. Instead, there are infinite paths in the dark woods of fiction leading to infinite types of stories. It’s hard, a little scary, yet ultimately thrilling.

Despite this, there are countless articles that insist there are in fact only two methods of storytelling: plot-driven and character-driven. It’s understandable that writing guides and craft classes are reductive. Who would pay for a writing guide that said “lol who knows ¯\_(ツ)_/¯” followed by 200 blank pages? Still, the plot-driven vs. character-driven binary has always made me wonder why those two aspects of fiction are the only ones allowed in the driver’s seat. Couldn’t a story be driven by voice? Couldn’t setting have a turn at the wheel?

Read the rest over at Lit Hub…

Do Characters Need to Change?

I’m always excited to see someone make a well-considered, articulate argument against the traditional “rules of writing.” Lincoln Michel does exactly that, when he suggests that maybe characters don’t need to change over the course of a story.

Can a good story contain static characters, and instead change their circumstances, change how the reader views them, or just make that static viewpoint incredibly compelling?