So, I know I want to focus on characters in this series. I have ideas for the main thrust of the story (the overarching plot), but before I start writing I want to plan. And for that, I want some kind of framework.

The vast majority of stories (especially successful, memorable ones) conform to a structure. There are many such structures, but one of the most popular is the hero’s journey. This originated from Joseph Campbell’s work on myths and folk-tales. He uncovered certain core similarities between most of these tales. He called this the ‘monomyth’, and it later became known as the hero’s journey.

George Lucas was heavily influenced by Campbell when he wrote Star Wars. Luke Skywalker’s arc in that film is one of the classic hero’s journey retellings.

But not every great story conforms to the hero’s journey. There are other structures.

Back at the start of 2021, one of the many podcasts I listen to, KM Weiland’s Helping Writers Become Authors, ran a whole series on character arcs. Weiland identified six core, sequential arcs, roughly mapping a life from ‘maiden’, then ‘hero’, and through to ‘mage’. Only when a character successfully negotiated one arc, she argued, could they progress to the next.

As I listened ideas started to develop.

Between each of these arcs are ‘resting’ arcs, where the character’s actions are more focused on helping others work through their own arcs. They became supporting characters in stories focused on others.

There are also negative arcs. These happen when a character becomes stuck at the low-point in a positive arc, unable to progress from this dark point. So a potential hero who backs out when the going gets too tough can fall into the negative arc of the cowards. Or if the potential hero doesn’t develop the necessary humility (if they believe too strongly in their own abilities) they can become a bully.

Not many stories focus on negative arcs (because we tend to prefer stories with happy, positive endings) but there are some classic negative arc stories. One that springs to mind is The Godfather, where Michael Corleone, despite never wanting to become like his father, eventually succumbs to a similar ruthlessness to keep his family safe. Or, turning back to Star Wars, consider Anakin Skywalker’s metamorphosis into Darth Vader.

And, in The Return Of The Jedi, Darth Vader gets a moment of redemption. His negative arc is reversed. There is always hope.

One thing that struck me was how a negative arc isn’t about a wilful desire to do bad things. It’s a downward spiral, or a weakness, or a misguided belief. It reminded me of something I’d heard many years ago — the villain is always the hero of their own story.

There are so many examples of this. Consider the minor conflicts between parents and teenagers, the desire to protect on one side and the yearning to experience on the other. Or go large (which I need to if I’m writing space opera). Think of political differences in so many countries. Think of conflicts between countries, between different groups within geographical areas. Each side believes itself to be in the right, their actions justified.

It’s not about simple right or wrong anymore, much as we’d like it to be.

Now consider a leader’s actions.’ Do they act to retain the status quo, or to usher in what they believe to be a much-needed change? Are they being poorly advised, either through malicious intent or through misinformation? Are they struggling with tensions between personal desires and the necessities of their office?

Let’s take a step back and return to my planning. I have a central story idea, a dilemma that has the potential to totally alter the course of humanity’s future. But, at least at the start, the exact nature is ambiguous. Different characters are going to have different views on it, and these views are going to influence their actions. These differences will lead to conflicts.

At the same time, my characters are all going through their individual arcs, battling situations that might only be tangentially related to the central thrust of the series. They’ll be pulled in different directions, forced to make hard decisions and accept compromise — or accept the consequences of rejecting compromise.

As I plan this series, I can use the character arcs Weiland identified. Some will keep to their positive arcs, others will fall into negative arcs (possibly to pull themselves back onto the positive path later on). There won’t be ‘good’ or ‘bad’ characters, only a cast of characters all trying to do the right thing, or at least doing the only thing they believe they can.

So I can construct a framework out of these arcs, giving the series (and individual book) structure. I can build the plot around that structure, confident that the heart of the overarching story will be the characters.

The next stage is getting to know those characters. More on that next time.

And if you’re interested in learning more about KM Weiland’s character arcs, click here.