Every writer discusses the importance of having great characters to drive and improve your script, but you must understand character arcs to understand the point. There's plenty to learn, especially since there are so many nuances and advice in the writing world.
Begin by asking, first, is this a feature film or a TV show? Second, do you have a sense of the story already? What kind of journey will the character take, and what external problem are they trying to solve?
Stills from 'Mad Men' (2007-2015) and 'Whiplash' (2014). Photos credit: IMDb
Episodic Writing
Are you experienced in writing for film but have no experience writing for TV and would love to try writing a pilot? For starters, each episode follows the three-act structure, but it's typically divided into four parts for commercial television. This is simpler than it might sound–by splitting Act Two into two sections around the Midpoint Reversal, you create the four parts.
For shows with ensemble casts, there's often an episode protagonist, but multiple characters act as protagonists throughout the series. Some characters appear at the start, some at the end, and some throughout. Despite this, the episodes still follow the three-act structure–though they don't revolve around a single character, the story beats still align with the traditional structure.
You can still apply the three-act structure for overarching storylines at the season level. Each episode should have three acts, but the season should follow a similar pattern. For example, if you have 12 episodes, episodes 1-2 (or 3) might make up Act One, episodes 3-8 would be Act Two, and episodes 9-12 would focus on wrapping up and setting up the following season. The key is that, while things may shift throughout the season, the overall structure should follow the three-act format, with a general arc that feels positive or negative.
Storylines
Generally, a series typically has three key storylines. The first is the individual episode story, which focuses on the central plot of each episode. In shows like Scooby Doo, this would be the "monster of the week" case, and in sitcoms, it’s a problem or conflict that gets resolved by the end of the episode. Each episode has a self-contained arc that gives the audience a satisfying conclusion, but it's just one piece of the larger narrative.
The second is the season arc storyline, which unfolds throughout the season. This overarching plot isn’t fully resolved until the season finale, and elements of it are woven into each episode. While not every episode will directly focus on the season’s arc, there will be reminders or subtler references to it, keeping it present throughout the season.
Finally, there’s the relationship arc, which tracks the development of interpersonal dynamics among the characters. This could involve evolving bonds like a buddy cop relationship, romantic developments, or shifting trust among the cast. Like the episode and season arcs, the relationship arc should grow and change over time, adding emotional depth and complexity to the series.
Example 1: Mad Men (2007-2015)
Character Arc: Don Draper begins as a successful but secretive ad executive and gradually faces the cracks in his facade, including his identity and relationships.
Why It Works: Don’s arc is subtle and multi-layered, with episodic storylines exploring different facets of his life, while the season arcs reveal broader consequences of his choices.
Example 2: Fleabag (2016-2019)
Character Arc: Fleabag starts as a cynical, emotionally detached woman but gradually confronts her grief, guilt, and relationships, especially with her family and the "Hot Priest."
Why It Works: Her arc unfolds subtly over two seasons, blending episodic humor with deep emotional development.
Example 3: BoJack Horseman (2014–2020)
Character Arc: BoJack struggles with addiction, self-loathing, and attempts at redemption over the series. Each season introduces a layer of his past that impacts his growth (or lack thereof).
Why It Works: The show combines episodic humor with deep, serialized character development, making BoJack’s arc both tragic and compelling.
Feature Lengths
Feature-length character arcs differ from episodic arcs in that they have a longer singular duration but a much shorter overall story. Some highlight the idea of a character "attaining their need and abandoning their wants," but this isn’t all you should care about.
This is a common perspective among newer writers, where the protagonist begins with an external want and abandons it by the end of the story in favor of a more profound, more meaningful need. But that's not how I approach character arcs.
It works better if the protagonist’s external want remains a central driving force throughout the story. They may start the journey with that want or commit to it partway through the story, perhaps around the midpoint or the start of Act Two. From that point, they pursue that want relentlessly until they either achieve it (in most stories) or lose the opportunity to attain it forever.
I can't think of many memorable stories where the hero abandons their want at the start of Act Three. I understand why it might seem necessary if you view the external want and the "inner need" as opposing forces, but I don’t think that’s the best way to frame it.
Example 1: Rocky (1976)
Character Arc: Rocky Balboa starts as an underdog with low self-esteem but gradually finds self-worth, proving his value by going the distance in a fight against the heavyweight champion.
Why It Works: The arc is about internal growth as much as external success, showcasing Rocky’s emotional transformation.
Example 2: Erin Brockovich (2000)
Character Arc: Erin starts as a struggling, unpolished single mother and becomes a tenacious advocate for environmental justice, helping a community fight against corporate wrongdoing.
Why It Works: Her arc emphasizes personal growth and professional triumph, blending her inherent grit with newfound purpose.
Example 3: Whiplash (2014)
Character Arc: Andrew Neiman evolves from a talented but insecure drummer into someone willing to push himself to dangerous extremes to achieve greatness.
Why It Works: The arc explores the costs of ambition and the complex dynamic between Andrew and his mentor Fletcher.
Characters
Your characters don't need to change–they can remain the same. A more subtle change can work and be great, but it's also more challenging to pull off. If you aim to write a character who doesn't change, my suggestion (which professionals echoed) is to focus on the evolution of your character's relationships instead.
Throughout the story, characters A and B may not change drastically as individuals, but how their relationship evolves becomes the focal point, which engages the audience. In many cases, relationship arcs are as vital as individual character arcs.
Regardless, a character arc isn’t necessarily about a character "changing" in the traditional sense but rather about how they approach the conflict in the story. The character can’t keep doing the same thing throughout the script and then magically overcome the obstacle at the end. It doesn’t mean they have to transform into a completely different person, but their approach or perspective should evolve to allow them to face the challenge differently.