Three Unique Character Arcs to Know

Change is the backbone of any story. Characters changing for the better or worse compels readers. The character arc gives them a meaningful journey to follow. Does the hero give into temptation? Do they overcome their pride? How do they grow?

Character arcs are also more than a bad character becoming a good character or vice versa. They are one of the fundamental elements of story structure, each arc forming a different structure. They are often divided into positive or negative arcs. Subcategories exist within this binary, which add variety and depth to a story.

The greater number of arcs a writer understands, the more tools they have to work with.

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Some definitions

A character arc is the transformation of a character over the length of a story. The character has an old wound that holds them back from their full potential. Over the course of events, obstacles challenge the character to face this wound. Believable growth involves struggle and failure reflected in the story structure. I’ll refer to this pattern as the try-fail cycle.

Note that a character arc is not the same thing as a character flaw. A large blemish might technically be a character flaw, but the wound would be the self-doubt the flaw creates.

A positive character arc is the traditional hero’s journey. A character overcomes a series of internal and external trials. By the end of the story, they learn a central lesson and prevail in their goals.

A negative character arc depicts the consequences of failing to learn the lesson. Tragedies feature characters that refuse to grow and fall deeper into their flaws.

The two forms of arcs can seem simplistic, but there are many kinds of arcs and layers of complexity. I explore three types of unique arcs writers may consider.

The Disillusionment Arc

In a disillusionment arc, characters learn a fundamental new truth about their world. The new truth breaks their sense of safety or self by presenting consequential harms of the old. Themes include the nature of perception, mental dissonance, and concepts of truth and understanding.

What it is: This type of arc begins with naivety and ends with affirmation of a new reality. The characters believe a foundational lie that informs their identity. Dystopian and coming of age novels are the most common vehicles for this setup. A lie might be “society has justified hierarchies.” Or else “my parents always know what’s best.” A character may realize their mother made a major wrong decision. They must then reconcile with the fallibility of those they trust most.

Structure: The try-fail cycle deals with denial and self-justification. Characters reject the newfound reality and protect their original Truth. The journey challenges their denial until they are able to accept and adapt.

Negative version: A failure of this arc results in a character falling into delusion. The consequence of self-deception leads to ultimate destruction.

Positive Arc example: The Giver by Lois Lowry

Negative Arc example: Susan in The Last Battle in The Chronicles of Narnia series by C. S. Lewis

Dual Character Arc

Unlike other arcs, this one involves two characters. The two must learn from their opposite either in ethics, personality, or philosophy. Themes often include compromise, humility, compassion, and leaning on others.

What it is: This form of narrative begins with characters in stark opposition and ends with harmony. The characters cannot see eye to eye at the start. They may be someone loyal to a fault and inflexible versus someone fickle and adaptable. The upright character learns how to be more cunning. The flighty character learns to be more reliable.

Structure: The try-fail cycle revolves around misunderstanding and pride. The journey challenges the two individuals to value each other. Self-reliance leads to failure until they develop a mutual respect and exchange skills.

Negative version: A failure in this arc leads to the characters becoming mired in their ways. The consequence of arrogance leads to unquestioning adherence and needless suffering.

Positive Arc example: Crowley and Aziraphale in Good Omens by Neil Gaiman and Terry Pratchett

Negative Arc example: Inspector Javert and Jean Valjean in Les Misérables by Victor Hugo

Character Reveal Arcs

In this type of arc, the character themself doesn’t change. The audience's understanding of them does. Themes involve unreliable narrators, limitations in viewpoint, idiosyncrasy, and judgment.

What it is: The audience's perception of the character evolves in real time. At the start, the narrative condemns the character and their worldview. The dismissed view will depend on the story. An action adventure might dismiss "kindness is stronger than violence.” A romance might deny “the inherent folly of sacrificial love." The story ends with the character's vindication.

Structure: The try-fail cycle comprises incremental reveals. Narrative framing aligns the reader against the character. Events wear away at the criticism and justifies the character’s view.

Negative version: The reveal vindicates their worldview, only for it to be too late. The revelation comes too late, and the consequence of narrative bias causes havoc.

Positive Arc example: The character Aphrodite in Lovely War by Julie Berry

Negative Arc example: The character Wiress in Catching Fire by Suzanne Collins

Summary

Character arcs comprise essential lessons. An individual begins with a wound and is given chances to confront the issue and change. A disillusionment arc challenges a character to reevaluate their accepted reality. A dual character arc challenges two characters to embrace their antithesis. A character reveal arc challenges audiences to reconsider narrative frameworks.

Naturally, these character arcs are not the only versions available to writers, but they are good ones to know. Each one depicts a different form of growth or takeaway. As writers, you may borrow from them and apply the principles—growing your stories to the best they can be.

How does YOUR character change along their journey?

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