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writercises Original Posting Feb. 8, 2019
The argument against transformation? Yep. Disturbance to get things moving, a care package to show us this person is someone we want to care about, and then...
The Argument Against Transformation
This is a very interesting beat, because James points out that it's not always there. But, if it is there, it's a great way to frame the character arc. So what is it?
Well, James suggest we start with theme. What's a theme? Lots of different definitions around, but James suggests thinking about it as a "life lesson learned." Something that the character learns by the end of the story, a truth for them to take away in their future life. A transformation of the character, or at least the way they view the world.
So, for example, in the Wizard of Oz, Dorothy learns… You know, there's no place like home! But, early on, Dorothy argues that there ain't no such place. Everyone is upset with her, Auntie Em tells her to go away, and all of that leads into somewhere over the rainbow. About as far from home as possible, right? Dorothy is arguing against the eventual transformation.
James shows us the same thing happening in Casablanca, It's a Wonderful Life, Lethal Weapon, To Kill a Mockingbird, and Hunger Games. Sometimes it's short, sometimes it's more extended, but fairly often there is an argument by the lead, by the main character, against the transformation, the lesson that they will learn. So that transformation, that life lesson learned at the end, works with the argument against the transformation to close the arc.
So why does this work? Well, basically, because readers expect it. They've been trained to expect the main character to argue against the transformation, and then to get hit with it at the end. They like it!
James offers some hints for plotters and pantsers who are trying to develop an argument against transformation. For the pantsers, or discovery writers, he suggests taking a break and writing a little fun piece. Just write a short bit told by the lead, the main character, explaining all the reasons they should not be involved in this story.
For plotters, he suggests using the argument against transformation to help push your plan. While you are working on developing the lead, talk with them, and see if there isn't a "no" that they are holding onto. Something that they just don't believe is going to happen… Or maybe I should say a belief that they do not hold?
The great part about this beat is that it pits the beliefs of your lead, of your main character, against the story events. So it builds conflict, and makes that final transformation stand out.
Now, given how often we find out what the theme is after we finish writing the book or the story, I suggest that sometimes you may have to come back and work on this beat as part of your revision process. If you don't see one upfront, relax. Go ahead and write the book or story. Then, with an idea of what the transformation is, what has changed for your main character, think about where you might slip an argument against the transformation into the beginning of your story. Go ahead and put it in during revision.
So, we have disturbance and the care package setting things up so that we know there's trouble and we care about the person in the middle. The argument against transformation comes from that person, and really says I don't want to change, I don't want to be affected by this disturbance. But...
All right. Three out of 15 beats. Next, trouble brewing. Kind of like the bubble, bubble, toil and trouble kettle?
The argument against transformation? Yep. Disturbance to get things moving, a care package to show us this person is someone we want to care about, and then...
The Argument Against Transformation
This is a very interesting beat, because James points out that it's not always there. But, if it is there, it's a great way to frame the character arc. So what is it?
Well, James suggest we start with theme. What's a theme? Lots of different definitions around, but James suggests thinking about it as a "life lesson learned." Something that the character learns by the end of the story, a truth for them to take away in their future life. A transformation of the character, or at least the way they view the world.
So, for example, in the Wizard of Oz, Dorothy learns… You know, there's no place like home! But, early on, Dorothy argues that there ain't no such place. Everyone is upset with her, Auntie Em tells her to go away, and all of that leads into somewhere over the rainbow. About as far from home as possible, right? Dorothy is arguing against the eventual transformation.
James shows us the same thing happening in Casablanca, It's a Wonderful Life, Lethal Weapon, To Kill a Mockingbird, and Hunger Games. Sometimes it's short, sometimes it's more extended, but fairly often there is an argument by the lead, by the main character, against the transformation, the lesson that they will learn. So that transformation, that life lesson learned at the end, works with the argument against the transformation to close the arc.
So why does this work? Well, basically, because readers expect it. They've been trained to expect the main character to argue against the transformation, and then to get hit with it at the end. They like it!
James offers some hints for plotters and pantsers who are trying to develop an argument against transformation. For the pantsers, or discovery writers, he suggests taking a break and writing a little fun piece. Just write a short bit told by the lead, the main character, explaining all the reasons they should not be involved in this story.
For plotters, he suggests using the argument against transformation to help push your plan. While you are working on developing the lead, talk with them, and see if there isn't a "no" that they are holding onto. Something that they just don't believe is going to happen… Or maybe I should say a belief that they do not hold?
The great part about this beat is that it pits the beliefs of your lead, of your main character, against the story events. So it builds conflict, and makes that final transformation stand out.
Now, given how often we find out what the theme is after we finish writing the book or the story, I suggest that sometimes you may have to come back and work on this beat as part of your revision process. If you don't see one upfront, relax. Go ahead and write the book or story. Then, with an idea of what the transformation is, what has changed for your main character, think about where you might slip an argument against the transformation into the beginning of your story. Go ahead and put it in during revision.
So, we have disturbance and the care package setting things up so that we know there's trouble and we care about the person in the middle. The argument against transformation comes from that person, and really says I don't want to change, I don't want to be affected by this disturbance. But...
All right. Three out of 15 beats. Next, trouble brewing. Kind of like the bubble, bubble, toil and trouble kettle?