how to write great characters: the key to your hero's growth and transformation
TRANSCRIPT
Contents
TitlePageCopyrightPageWelcomeWhoIsThisGuy?WhoIsThisBookFor?WhatIsaStory?WhyWeNeedGreatCharactersNineFundamentalFearsThatMotivateYourCharactersNineCharacterTypesThatWillImproveYourStoryNineStagesofaCompellingCharacterArcHowtoWriteCharacterReactionPatternsCaseStudy:"Maleficent"Conclusion
HowtoWriteGreatCharactersTheKeytoYourHero’sGrowthandTransformation
DavidWisehart
HowtoWriteGreatCharactersTheKeytoYourHero’sGrowthandTransformation
Copyright©2015byDavidWisehart
AllRightsReserved
PublishedbyWisehartProductions
CharacterChange.com
Welcome
YearsagoIwasavideogameproduceratTwentiethCenturyFox.Oneday,awriterwalksintomyoffice.Pitchesmeastory.Iaskhim,"So,who'sthebadguy?"Thewriterthinksforamoment.Thensays,"Idon'tknow."Quicktip:Ifyou'rewritingastory,andyoudon'tknowwhoyourbadguyis,it'syou.Youhavegottoknowyourcharacters.I'mnotjusttalkingaboutcharacterdescriptions:
appearancedialectoccupationethnicitysocio-economicclassetc.
AndI’mnotjusttalkingaboutcharactertraits:
faithhealthintelligencesenseofhumormoralityetc.
I’mnoteventalkingaboutcharacterfunction:
herovillainmentorallytricksteretc.
Yes,thoseareallimportant.Butyouneedmore.
Muchmore.You'vegottoknowyourcharactersonadeeplevel.Fromtheinsideout.You'vegottoknowthembetterthanyouknowyourfriends.Betterthanyouknowyourfamily.Betterthanyouknowyourself.Youcanlearntodothat.AndIcanhelpyou.WelcometomybookonHowtoWriteGreatCharacters.
WhoIsThisGuy?
MynameisDavidWisehart.Iamawriter,director,andproducerinHollywood.IwasavideogameproduceratTwentiethCenturyFox.I'vewritten,directed,andproducedstageplays,amusical,andanopera.I'vedirectedafeaturefilm.I'vebeenhiredtorewritemorethanadozenmoviescripts.I'mthebestsellingauthorofanepicfantasynovel.And I am truly excited about this opportunity to help youmaster the art of
writinggreatcharacters.
WhoIsThisBookFor?
Areyouawriter?Doyouwanttoachieveyourgreatestpossiblesuccess?Thenthisbookisforyou.Byreadingthisbook,youwillgainabetterunderstandingofhumannature.You will acquire a set of tools that you can use to create compelling
characters.Youwilllearntheancientsecretsofhumanpsychology:
theninefundamentalfearsthatmotivatehumanbehaviortheninecorecharactertypestheninestagesofcharacterchangeandsomuchmore
The ideal reader for this book is awriterwhowants to complete their bestpossiblescreenplayornovel.Therearenopre-requisites.Completebeginnersandseasonedveteranswillbothbenefitgreatlyfromthis
material.Youdon’tevenhavetobeawriter.Ionlyaskthatyoucomeopen-minded,andreadytolearn.Aboutstory.Aboutcharacter.Andaboutyourself.Pleasejoinmeonthisgreatadventure.
WhatIsaStory?
Myfavoritedefinitionofastoryis:“Someonewantssomethingandhasahardtimegettingit.”It’ssimple,clear,andeasytoremember.No,itdoesn’tcovereverything.Andyes,it’soversimplified.Butthisshortsentenceisagreatwaytowrapourheadsaroundwhatastory
reallyis.Let’sbreakitdown.
“Someone…”
Storycomesfromcharacter.Inmoststories,thatcharacterisaperson,ahumanbeing.Butastorycouldbeaboutsomethingpersonified:
ananimalanalienarobotatoasteratoy
If a non-human character acts recognizably human, thenwe as an audiencecanrelatetothem.Audiencesgotostoriestolearnabout:
themselvesotherpeoplehowtosurviveintheworld
Theydothisbyfollowingacharacterwhoactshuman.Evengods,whentheyarethesubjectsofstories,actlikehumanbeings.AsAlexanderPopewrote:
Knowthenthyself,presumenotGodtoscan,TheproperstudyofmankindisMan.
Towritegreatcharacters,then,wemuststudyhumannature.Butpeopleareunique,complex,andunpredictable.To get a deeper understanding of people, we need a model of human
personalitythatringstrue.Forwritersoffiction,themodeldoesn’tneedtobescientificallyvalidated,but
itdoesneedtobeuseful.Tobeusefulasawritingtool,themodelmusthelpusto:
understandourselvesunderstandotherpeoplecreatecharacterscreateacharacterarc
ThemostusefulmodelthatIhavefoundiscalledtheEnneagram.
TheEnneagramisanancientsymbolandsystemofthought.Itseemstohavedevelopedovermanycenturies,andhasbeeninfluencedby
manyculturesandphilosophies.Its trueorigins are shrouded in the sandsof time,but early influencersmay
includethePythagoreans,theNeoplatonists,andtheDesertFathers.In the twentieth century these traditions were combined with modern
psychologyandpopularizedbyvariousNewAgeteachersandNorthAmericanJesuits.Given this history, or lack thereof, it should come as no surprise thatmost
scientistsandmanytherapistsviewtheEnneagramwithgreatskepticism.Which,forawriteroffiction,isneitherherenorthere.Forus,theEnneagrampassesthetestforusefulness.Itisaworkablemodelofhumanpersonalityandbehaviorthatcanhelpusto
better understand ourselves and other people, and can help us to createcompellingcharacterswhoundergoabelievableandsatisfyingcharacterchange.TheEnneagramclassifiespeopleintoninebasictypes,withvarioussubtypes.Eachtypeisdominatedbyafear,andthatfearcreatesarecognizablestyleof
thinking,feeling,andacting.It’ssimpleenoughtounderstand,yetcomplexenoughtobetrue-to-life.Youcangraspthebasicsinafewhours,andplumbthedepthsforalifetime.So if you want to write great characters, I recommend that you study the
Enneagram.Whichwewillcontinuetodointheupcomingchapters.Okay,movingon.What’snextinourdescriptionofstory?
“Someonewantssomething…”
Thecharacterhasagoal.Thegoaliswhatthecharacterknowshewants.Itdrivestheplotofthestory.Butthetruthis,thecharacterdoesn’tknowwhathereallywants,becausehe
doesn’tknowhimself.He’sbeenlivingalie,wearingamask,presentingafalseselftotheworld.Histrueselfwantssomethingthathisfalseselfhasforgotten.Let’scallithisneed.Sohiswantistheoutergoal,whichheisawareofatornearthebeginningof
thestory.Andhisneed is the innergoal,whichhe isnotawareofuntilatornear the
endofthestory.“IthoughtwhatIwantedwasX,butnowIknowthatwhatIreallywantedall
alongwasY.”Thecharacterlearnssomethingabouthimself.Andso,theaudiencelearnssomethingaboutthemselves.Let’slookatsomeexamples:
1.Shewants towinher casebefore theU.S.SupremeCourt, but sheneedsproveshe’sagoodperson.
2.Hewantstofinalizethecorporatemerger,butheneedslove.
3. She wants to win the state championship game, but she needs to feelvalued.
4.HewantstoplayinCarnegieHall,butheneedstofeelsignificant.
5.ShewantstooutwittheRussianhacker,butsheneedstoproveshehasn’tlostherskills.
6.Hewantstofindlove,butheneedstofeelsecure.
7.ShewantstofindthelosttreasureoftheIncas,butsheneedstoescapeherdulljobatthebank.
8.Hewants to launch a high-tech startup company, but heneeds to feel incontrol.
9.Shewants tostopherparentsfromdivorcing,butsheneeds tofeel likeawholeperson.
IsthereareasonIgavenineexamples?Yes.Because,aswewilldiscussinanupcomingchapter,thereareninesecretfears
thatmotivatecharacters.Whatthecharacterneedsmostistoovercometheirsecretfear.Andthat’swhatthestoryisfor.Butitwon’tbeeasy.
“Someonewantssomethingandhasahardtime…”
Thestoryplacesaseriesofincreasinglydifficultobstaclesinfrontofthehero,makingitalmostimpossibleforthemtoachievetheirgoal.Theytryandfail,tryandfail,butkeepontrying.Untilthey’verunoutofoptions.Theonlythinglefttotryistheonethingthey’vebeenavoidingmost.Theyhavetochange.Goodnewsforwriters:therearepatternstohowandwhypeoplechange.Ifyoumasterthosepatterns,youcanwriteabelievableandsatisfyingchange
foryourcharacter.Andyourreaderswillloveyouforit.Thereareninestagesofacompellingcharacterarc.We’lldivedeeperintothoseinalaterchapter,butfornowlet’sjustsaythat
the character cannot get what they want unless they profoundly changethemselves.
“Someonewantssomethingandhasahardtimegettingit.”
Thecharacterchanges.Andtheygetwhattheywant.“Yay!Happyending!”Ortheyrefusetochange.Andtheydon’tgetwhattheywant.“Bummer,dude.Sadending…”Isthereawaytoendyourstoryhappilyevenifthemaincharacterdoesn’tget
whattheywant?Yes.
Howdoyoudothat?Givethemwhattheyneed.Becauseaswe learned from those famousBritishphilosophers,TheRolling
Stones:“YouCan’tAlwaysGetWhatYouWant.”Butifyoutrysometimes,youjustmightfindyougetwhatyouneed.
WhyWeNeedGreatCharacters
Greatcharactersteachusaboutourselvesandhowtosurviveintheworld.TheliterarycriticHaroldBloomoncewrote:
“We read deeply for varied reasons,most of them familiar: thatwe cannotknowenoughpeopleprofoundlyenough;thatweneedtoknowourselvesbetter;thatwerequireknowledge,notjustofselfandothers,butofthewaythingsare.”
That’swhatstoriesdoforus.It’swhatthey’vealwaysdone.I’mremindedofthe1997adventurefilmTheEdge,writtenbyDavidMamet
anddirectedbyLeeTamahori.It’sabouttwomen,AnthonyHopkinsandAlecBaldwin,whosurviveaplane
crashintheAlaskanwilderness.On their journey back to civilization, they discover that a grizzly bear is
stalkingthem.AsSamElliottsaysinTheBigLebowski:
“Sometimesyoueatthebear,andsometimesheeatsyou.”
InTheEdge,ourheroesaremodernmenfromthebigcity.They’resoftandweak.They’renottrainedtosurviveinthewild.Letalonetokillagrizzlybear.But they do have somematches, and on the cover of thematch book is an
illustrationofa loneNativeAmericankillingagrizzlybearwithnothingbutaspear.Hopkinsplaysaself-madebillionairewhosepersonalmottois:
“Whatonemancando,anothercando.”
Thatbecomesthemantraofbothcharacters.Andthethemeofthemovie.Whatonemancando,anothercando.BecauseofthatNativeAmericanonthematchbookcover,thesemodernmen
cometobelievethatthey,too,cankillagrizzlybearwithnothingbutaspear.The illustration becomes a story, and the story becomes a lesson, and the
lessonis:amanwithaspearcankillasavagebeast.Itwassomethingaboutthemselvesthattheyhadonceknown.
Buthadlongsinceforgotten.Andintheirmostdesperatehour,whenallhopeseemslost, thesecharacters
areinspiredtoovercometheirfearsofthenaturalworld.Andtofinallybecamethementheyare.Theyeatthebear.
Whatonemancando,anothercando.
Thisiswhyweneedheroes:toteachusaboutourselves,andhowtosurviveinthisworld.Imagineforamomentthatyou’reacaveman,aCro-Magnon,sittingwithyour
tribearoundacampfiretwentythousandyearsago.You’vejusthadasuccessfulhunt.Everyoneisfeastingandcelebrating.Butonewomanrefusestoeat.She’sbeencrying.Trembling.When the celebration dies down and bellies are full, the woman finds the
couragetospeak.Sheturnstofacetheleaderofthehunt,andsaystohim,“Whathappenedto
myson?”Andforalongmomentnoonespeaks.Theyallknewtheboy.Theyhadknownandlovedhisfather,whodiedinahuntbeforetheboywas
born.Butthechildgrewuptobeatrouble-maker.Anangrychild,andselfish.He
was toleratedby the tribebecausehewasonly twelve.Buthedidn’thaveanyfriends. He was mean to the younger children, which angered the adults andembarrassedhismother.She had hoped his first huntwould change him, that hewould grow into a
good man. That he might have something to contribute. To his friends, hisfamily,hispeople.Butshesecretlyfearedthathersonwoulddieinthehunt,killedbysomeone
hehadonceoffended.Sonowthemotherisafraidtoknowthetruth.Butsheneedstoknow,andsosheasksagain,“Whathappenedtomyson?”Andtheleaderstandsup.Andhetellsthestoryofthehunt.Twohuntingpartiessetoutatdawn,oneheadedforwherethesunrises,and
theotherforwherethesunsets.The first hunting party found nothing, and after many days they returned
homewithnomeat.Thesecondhuntingparty,too,wasoutformanydays,andwasjustaboutto
turnback.Butthentheyfoundfreshantelopetracks.Itwastheyoungboywhospottedthem.Thetroubledkidnobodyliked.Hisfatherhadbeenagreattracker,anditseemedtheboyhadthesamegift.Henoticedthingsothersdidnot.So they followed the tracks, and found the antelope, and killed their prey,
bringingdowntwoyoungbucks.Whenthekillingwasdone,thehuntingpartywasexhausted.Beforetheycouldstartback,theyneededtosleep.Inthenight,thewatchmandozedoff.That’swhenthelionscame.Theycametostealthecarcasses.Andwhen the predators dragged themeat away, it was the boywhowoke
first.Hegaveashout,grabbedhisspear,andchargedatalionesswhowasstealing
theirfood.Theboywoundedthelionwithastabtoherflank.Butthelionfoughtback,sinkingherfangsdeepintotheboy’sleg.By the time theotherhunterswokeandchasedaway the lions, theboywas
nearlydead.Hislegwasmangled,andhewaslosingtoomuchblood.Theytriedtoclosethewoundwithaclothtiedaroundit,butthatcouldn’tstop
thelifefromleakingoutofhim.“Gohomewithoutme,”theboysaid.“Youfeedthetribe.I’llfeedthelions.”Thosewerehislastwords.The boy died, and they buried him in a shallow grave by a big tree near a
slow-movingstream.They covered the grave with stones to keep the lions out, and they said
prayerstosendtheboytotheirgods.Whentheleaderofthehunthadfinishedhisstory,themothersatbackdown.Andforthefirsttimeinmanydays,sheate.Notbecauseshewashungry,butbecause itwas the finalgift fromher son,
fromtheboyshehadsentaway,andfromthemanhehadbecome,amanshewouldonlyeverknowinastory.
Alsolisteningtothestorythatnightwasayounggirl.Shewasonlyfouryearsold,butshewasoldenoughtounderstandit,andshe
hadknowntheboy,andhowhewas.Thegirllivedagood,longlife.In a tribewheremostmembers died in childhood, or in the hunt, or giving
birthtotheirsixthorseventhchild,thisgirlgrewuptobeawomanwhocouldbearnochildren.Butshecouldtakecareofothers,andtellgoodstories.She lived tobemore thansixtyyearsold, theoldest livingmemberof their
tribe.Andshekeptthestoryalive.Thereisanotheryoungboy,thousandsofyearslater,whohearsthestory,or
onemuchlikeit.He’safraidtogooutonhisfirsthunt.Becauseheknowsthathemaydie.Butheloveshearingthatstory.Hedoesn’tknowwhyhelovesthatstorysomuch,buthewantstohearitover
andoverandoveragain.Inacavenearbythereareimagesofanimalsonthewall, left therebysome
greatancestor,ormaybeevenbythegods.The boy goes into the cave sometimes with fire in his hand to look at the
animalsanddreamofthehuntingboy.Hethinksaboutthatstoryallthetime.Becausehe’safraid.Hehasadeep,secretfearthathehasnevertoldanyone.Notevenhimself.Deepdown,thisboyisafraidofbeingunloved.Heneeds,morethananythingintheworld,tobeloved.Andheneverthinksaboutitinquitethisway,buttheboyinthehuntingstory
feltunlovedtoo.Untiltheveryend.Wheneveryonelovedhimandrememberedhim.Andnowthatboyisaherofortheages.Sothisyoungboywantstobelikehishero.And when the time comes for him to go out on his own first hunt, he
somehowfindsthecouragedeepinside,rightwherethefearofbeingunlovedishidden,andhegoesoutwiththeoldermen,tobecomeamanhimself.
Whatonemancando,anothercando.
Andwhateverhappens to thatboy,or to themillionsofothers just likehimdown through the ages, it is because of a story, and a hero, that young mencontinuetofacetheirfears,findtheircourage,andjointhehunt.Andsothetribe,andthehumanrace,survives.
NineFundamentalFearsThatMotivateYourCharactersTheEnneagramdescribesninecoretypesofhumanpersonality,eachofwhichisdrivenbya
differentdominantfear.
Thereare,ofcourse,manytypesoffear.Wewillexperiencemostofthesefearsatsomepointinourlives.Butonedeep,hiddenfearwilltendtodominateandcontrolus.Thisdominantfearwillmotivateus,andshapeourpersonalitymorethanany
oftheotherfears.AsTolkienmightsay:
Onefeartorulethemall,Onefeartofindthem,Onefeartobringthemall,Andinthedarknessbindthem…
Sowhatexactlyaretheseninefundamentalfears?First of all, these are not the fears that we are bornwith, but the fears we
developinearlychildhood.Researchsuggeststhatthereareonlytwofearsthateveryoneisbornwith:
thefearoffallingthefearofloudnoises
Allotherfearsarelearnedininfancy.Andahumanchildhaseverythingtofear.Tothem,theworldisastrange,new,andterrifyingplace.A newborn cannot feed or defend itself. On its own, a human baby is
absolutelyhelpless.Ifabandonedinthewilderness,itwouldsoonperish.Butmostofussurvivedourchildhoods,forbetterorworse.Wewereraisedin
familiesofonesortoranother,byadultswhodidtheirbesttofeedandprotectus.Andsomehowwegotthroughittobecometheadultswearetoday.Butnoonegetsthroughchildhoodunscathed.
WhatAreYouSoAfraidof?
Eachofusiscontrolledbyafundamentalfearthatwearemostlyunawareof.Earlyinlife,wefoundawaytodealwiththatfear.Adefensemechanism.Anditworked.Buttodealwiththatfear,wechangedourselves.And that changecontinues today in the formofourpersonality,ourbeliefs,
andouractions.Weperceivetheoutsideworldthroughthelensofthatpersonality.Alenslong-agodistortedbyourdominantfear.Thatlensnowdistortsourviewofeverythingandeveryonearoundus.It’sasifeveryoneiswalkingaroundwithamapoftheworldintheirheads,
butnotallthemapsarethesame.Thereareninedifferentmaps,andit’shardtotellifsomeoneelseisusingthesamemapasyou.Mostofthemarenot.Thiscancausesomemajorproblemsinrelationships.Asyoumayhavenoticed.Ifwecouldunderstandhowothersseetheworld,itwouldhelpustogetalong
withpeoplebetter.Wecouldcreatebetterrelationships,betterfamilies,betterlives.Andbettercharacters.
TheNineFears
IntheEnneagramsystemofpersonality,theninefundamentalfearsare:
1.Fearofbeingevil
Thisisthefearofbeingbad,corrupt,orimbalanced.Charactersdominatedbythisfeartrytoavoidbeingcondemned.Theywant to be correct and consistent, able to justify themselves and their
actions.Theycanbehighlycriticalofothers,andself-righteous.ThischaractertypeisTheReformer.
2.Fearofbeingunloved
Thesecharacterswantmostofalltobeloved.Toachievethis,theygivelovetoothers,expectingotherstogiveloveback.Butnoothertypeisasgivingastheyare.Thesegenerouscharactersmaybedisappointedbywhattheygetinreturn.Attimestheycanbemanipulativeandvindictive.ThischaractertypeisTheHelper.
3.Fearofbeingworthless
Charactersdominatedbythisfearwanttobeworthwhileandvaluable.Theycraveattentionandareeagertoimpress.Desperatetodistinguishthemselves,theystriveforadmirationandacclaim.They fear failure and humiliation, and can be deceitful, hostile, and even
psychopathic.ThischaractertypeisTheAchiever.
4.Fearofbeinginsignificant
Thesecharactersfearlosingtheiridentity.Theywanttobethemselves,andprotecttheirfeelings.Theyputtheiremotionalneedsfirst.Theyyearntoexpressthemselveswithbeauty,tofindideallove,andtolive
outtheirfantasies.But they are vulnerable to self-indulgence, self-destruction, and emotional
breakdown.ThischaractertypeisTheArtist.
5.Fearofbeingincompetent
Thesecharactersworkhardtomasterasystemofknowledge.Orasetofskills.Theyarekeeninvestigatorsandconceptualizers.Intellectualanddetached,theycanbereclusive,eccentric,andschizophrenic.ThischaractertypeisTheObserver.
6.Fearofbeingwithoutsupport
Thesecharacterscraveasenseofsecurity,andtheyfearlosingguidance.Theyoftenfindsupportandguidancewithinanorganization.Theyseektheapprovalofothers.Slowtotrust,theymaytestthosearoundthem,andtheycanbeparanoid.ThischaractertypeisTheQuestioner.
7.Fearofbeingdeprived
These characters have a great appetite for life, and are greedy for newexperiences.Themostextrovertedtype,theyareescapeartistswhofearbeingtrappedby
theirinnerpain.Theymayhavemoodswingsandmania.ThischaractertypeisTheAdventurer.
8.Fearofbeingcontrolled
Thesecharactersarehighlyindependentandself-confident.Theyarenaturalbornleaders,butcanalsobebossyanddomineering.Self-drivenandenterprising,theydenytheirownemotionalneeds.Theycanberuthless,vengeful,andsociopathic.ThischaractertypeisTheLeader.
9.Fearofseparation
Thesecharactersstrivetoavoidlossandfragmentation.Desiring peace and harmony, they make excellent communicators and
mediators.Theydissociatefromconflict,andpossiblyfromthemselves.Theymaybenumborevencatatonic.ThischaractertypeisTheDiplomat.
That’saquickglimpseintotheEnneagramsystem.Ofcourse,weallpossesssomeelementsofeachof these types,becausethe
ninefearsareuniversal.Butforeachcharacter,onefeardominates.Andsodoesonecharactertype.It’simportanttoknowthecharactertypeofyourprotagonist,andalsoofthe
othercharactersthatyourherocomesintocontactwith.Becauseitcangreatlyimproveyourwriting.Andmaybeevenyourlife.Inthenextchapterwewillexploretheninecharactertypesthatwillimprove
yourstory.
NineCharacterTypesThatWillImproveYourStoryStorycomesfrom
character.Butwheredoescharactercomefrom?Fear.Inthelastchapter,Idiscussedtheninefundamentalfearsthatmotivateyour
characters.AsImentioned in thatpost, thesenine fearscreate theninecharacter types,
whicharesymbolizedbytheEnneagram:
Nowlet’sdivedeeperintoeachcharactertype…
1.TheReformer
Reformersareperfectionists.Theywanttoberight.Reformersfearbeingbad,corrupt,orimbalanced.Theyneedtobeabletojustifytheiractions.Andtheycaneasilybecomecritical,judgmental,andself-righteous.Intheworkplace,Reformersareefficientandorganized.Theyliketofinishwhattheystart.You will often find them in law enforcement, management, and science
careers.Theymayenjoycommunityserviceandhumanitariancauses.At theirworst, Reformers are neurotic and unmercifully cruel in their fight
against“evil,”howevertheychoosedefinethat.Attheirbest,Reformersarerealistic,self-disciplined,andinspiring.
Reformersinhistory:
JoanofArcGeorgeBernardShawMahatmaGandhiWilliamF.BuckleySandraDayO’Connor
Reformersinfilm:
GregoryPeckinMobyDickJessicaTandyinDrivingMissDaisyKevinCostnerinTheUntouchablesHelenMirreninTheQueenHarrisonFordinTheMosquitoCoast
2.TheHelper
Helperswantmostofalltobeloved.Theyarepeople-pleasers.Inanefforttogetlove,theygiveitfirst,fullyexpectingloveinreturn.Thisbargainremainsassumedandunacknowledgeduntiltheissueisforcedto
thesurfacebythehelper’sgrowingresentment.Noone but another helper canmatch their giving nature, so they often feel
used,surroundedbyaworldofheartlesstakers.Thisiswhentheirpersonalitycanpivottowardvindictiveness.Whilehelpercharacterscanbewomenormen,infilmtheyarealmostalways
women,andsometimestheyappearintheroleofintimatevillains.To paraphrase the playwrightWilliam Congreve, “Hell hath no fury like a
womanscorned.”Malehelpersinmoviesareoftenportrayedaseffeminate.Perhaps this is a reflectionofour society,which seems to encouragehelper
traitsinwomenmorethaninmen.Intheworkplace,helpersfavorprofessionssuchasteaching,counseling,and
nursing.Manyexecutiveassistants,receptionists,andsalespeoplearehelpers.Attheirworst,helpersarepossessive,manipulativevictims.Attheirbest,helpersaregenerous,caring,andinsightful.
Helpersinhistory:
MaryMagdaleneMotherTeresaArchbishopDesmondTutuFlorenceNightingaleLeoBuscaglia
Helpersinfilm:
AnneBaxterinAllAboutEveTomCourtneyinTheDresserGlennCloseinFatalAttraction
NathanLaneinTheBirdcageKathyBatesinMisery
3.TheAchiever
Achieversarego-gettersandsocialclimbers.Because they fear being worthless, they expend a great deal of energy to
appearvaluabletothemselvesandtoothers.Theirlivesareapublicperformance.Achievers are eager to impress, and so they look for ways to distinguish
themselves.Ambitiousstatus-seekers,theycanbevain,superficial,andcompetitive.Pronetofeelingsofhumiliation,theyareintenselyafraidoffailure.Narcissismisquitecommonforthischaractertype.Intheworkplace,Achieversaredrawntobusiness,law,banking,andpolitics.Youwillfindtheminanycareerthatcreatescelebrities,suchasbroadcasting
andtheperformingarts.Americahasavery“typethree”culture.Thedriveand industriousnessofAchievers ishighly regarded in theUnited
States,wheretheself-madebillionaireisanationalfantasy.Achievers are very often the main characters in big-budget Hollywood
movies,whichtendtobeproducedbyreal-worldAchievers.Attheirworst,Achieversaredeceitful,hostile,andpsychopathic.Attheirbest,Achieversareoptimistic,confident,andcharitable.
Achieversinhistory:
BillClintonBarbaraStreisandJanePauleyO.J.SimpsonTonyRobbins
Achieversinfilm:
SharonStoneinBasicInstinctNicoleKidmaninToDieForTomCruiseinAFewGoodMenChristianBaleinAmericanPsycho
CharlieSheeninWallStreet
4.TheArtist
Artistsareindividualistic,idealistic,andromantic.Whiletheyhavegreatempathyforothers,theyfearlosingtheirownidentity,
andaresearchingfortheirtrueselves.They express their feelings through beauty and creativity, and have a rich
interiorfantasylife.Warmheartedandintuitive,theyyearnfortruelove.Buttheyarepronetoself-indulgence,addiction,andemotionalbreakdown.Careersintheartsareanaturalfitforthischaractertype.However,Artistscanbefoundsupportingthemselvesinalmostanymundane
job,andcanthriveinthosejobssolongastheircreativityisexpressedinsomeareaoftheirlives.Otherlikelycareersincludeteachingandcounseling.Attheirworst,Artistsaretormented,self-hating,andself-destructive.Attheirbest,Artistsarecreative,inspiring,andtransformative.
Artistsinhistory:
MariaCallasMarthaGrahamRudolfNureyevJoniMitchellTennesseeWilliams
Artistsinfilm:
JamesDeaninEastofEdenNicolasCageinMoonstruckF.MurrayAbrahaminAmadeusMerylStreepinOutofAfricaKateWinsletinHeavenlyCreatures
5.TheObserver
Observerswanttoappearcompetentandareafraidoflookingfoolish.Theypushthemselvestomastersystemsofknowledge.Theyareself-sufficientinvestigatorsandkeenconceptualizers.Emotionallydistant,theycanseemcoldandarrogant.Unwillingtodescendfromtheirivorytower,theycanbereclusive,eccentric,
andschizophrenic.In the workplace, they excel at intellectual pursuits, tending to thrive in
scientificandtechnologicallychallengingfields.Theiranalyticalskillsmakethemgreatproblemsolvers.Independentthinkers,theyprefertoworkalone.Observerscanbecomeexcellentwritersandmusicians.Attheirbest,Observersareinsightful,inventive,andwise.Attheirworst,Observersarenihilistic,psychotic,andsuicidal.
Observersinhistory:
CharlesDarwinEmilyDickinsonGeorgiaO’KeeffeBobbyFischerStanleyKubrick
Observersinfilm:
PeterO’TooleinGoodbye,Mr.ChipsAllySheedyinTheBreakfastClubJamesSpaderinSex,Lies,andVideotapeJulietteBinocheinBlueJesseEisenberginTheSocialNetwork
6.TheQuestioner
Questionerneedsecurityandguidance.Theyoftenfindthiswithinanorganization:workingforthemilitary,forthe
justicesystem,inthecorporateworld,orinanacademicinstitution.Theirsenseofinsecurityprodsthemtoseektheapprovalofothers.Andyet,asskeptics,theytestotherpeople.Theirdistrustingnaturecanleadtoparanoia.Thischaractertypehastwobasicstrategiesfordealingwithanxiety.Depending on which strategy is they use, Questioners fall into one of two
subtypes:
phobiccounterphobic
Thephobicsubtypeisoutwardlyanxious.Theykeepalowprofileandturntoauthorityinordertoeasetheiranxieties.Theyavoidconfrontationbecausetheyfearabandonment.Thecounterphobicsubtypeopenlyconfrontstheirfears.Theyarerebellious,evenbellicose.Asanti-authoritarians,theytendtobeself-employed.Theirpersonalitycanresembleatypeeightcharacter,theLeader.ThedifferenceisthattheconfrontationalstyleofQuestionerismerebluster.TheylacktheinnerconfidenceofaLeader.Instead,theyattackotherstohidetheirownweakness.At their worst, Questioners are controlling, defensive, testy, and
unpredictable.Attheirbest,Questionersareresponsible,practical,andcompassionate.
Questionersinhistory:
RobertF.KennedyPrincessDianaJohnnyCarsonJ.EdgarHooverOliverNorth
Questionersinfilm:
JackLemmoninTheApartmentWoodyAlleninHannahandHerSistersDianeKeatoninAnnieHallEllenBarkininTheBigEasyBillMurrayinWhatAboutBob?
7.TheAdventurer
Adventurersseekexcitementtoavoidsuffering.Happinessistheirgoal.Themost extroverted type, theyhavea lust for life andarehungry fornew
experiences.Thisisanescapefromtheirinnerselves.Butwhentheyfinallyexhausttheirmanicresources,theyfindthattheycanno
longerhidefromtheirfesteringanxieties.Intheircareers,theylookfortravelopportunities.Flightattendants,pilots,andoutdoorphotographersaretypicallyAdventurers.Theyavoidrepetitivejobs,andareoftensuccessfulasentrepreneurs.In their free time, theymay be adrenaline junkieswho flirtwith danger by
rockclimbing,skydiving,orracecardriving.Attheirworst,Adventurersareimpulsive,manic,andself-destructive.Attheirbest,Adventurersarefun-loving,spontaneous,andenthusiastic.
Adventurersinhistory:
EpicurusMozartJohnF.KennedyElizabethTaylorJohnBelushi
Adventurersinfilm:
AudreyHepburninBreakfastatTiffany’sMichaelCaineinAlfieRuthGordoninHarold&MaudeJeffBridgesinTucker:TheManandHisDreamSeanConneryinTheManWhoWouldBeKing
8.TheLeader
Leadersareself-reliantandself-confident.Theyfearbeingcontrolledbyothersorbycircumstances.Theytrusttheirgut,andcanbeimpulsive.Theyarequick toassert themselves, sometimes tramplingoverothers in the
process.They may obsess over the acquisition and maintenance of power, ignoring
theiremotionalneedsinfavorofconquest.They have a will to power, and can be ruthless, vengeful, and even
sociopathic.Intheworkplace,leadersneedtofeelincharge.Autonomyisoftheutmostimportance.Theydemandthefreedomtomaketheirowndecisions.Unless they are at or near the top, leadersmay chafe in the shackles of the
corporateworld.Manychoosetobeself-employed.Leadersareoftenentrepreneurs,executives,andlawyers.They thrive in positions of responsibility and authority, and love to tackle
toughchallenges.Attheirworst,Leadersarecontrolling,domineering,andaggressive.Attheirbest,Leadersareconfident,energetic,andprotective.
Leadersinhistory:
NiccolòMachiavelliRichardWagnerIndiraGandhiMartinLutherKing,Jr.BarbaraWalters
Leadersinfilm:
GeorgeC.ScottinPattonLindaFiorentinoinTheLastSeductionJuliaStilesin10ThingsIHateAboutYou
EllenPageinHardCandyDenzelWashingtoninMalcolmX
9.TheDiplomat
Diplomatsavoidconflict.Theycanseetheworldfromanotherperson’spointofview.This bridges interpersonal differences, and improves communication and
understanding.Butinmirroringsomeoneelse,Diplomatsmaylosethemselves.Intheworkplace,theyaredrawntothehelpingprofessions.Theymakegreatmediatorsandcounselors.Theyfunctionwellinbureaucracies.Attheirworst,Diplomatsarejudgmental,stubborn,andpassive-aggressive.Attheirbest,Diplomatsarepeaceful,generous,andempathetic.
Diplomatsinhistory:
AbrahamLincolnJosephCampbellPrincessGraceofMonacoQueenElizabethIIGeraldFord
Diplomatsinfilm:
ShirleyMacLaineinTheApartmentKevinCostnerinDancesWithWolvesMorganFreemaninDrivingMissDaisyEdNortoninFightClubJeffBridgesinTheBigLebowski
Next,we’llexplorehowthesecharacterschange.
NineStagesofaCompellingCharacterArcManywritersaregoodat:
storystructureworldbuilding
charactercreationdialogpacingetc.
Buttheyfailtodescribeabelievableandsatisfyingcharacterchange.Thiscankillyourscreenplayornovel.It’soneofthebiggestcomplaintsofscriptreadersinHollywood:
“Nocharacterarc.”“Thearcwasunmotivated.”“Unbelievable.”“Unsatisfying.”etc.
Youcandobetter.Solet’stalkabouthowcharacterschange.Atthebeginningofastory,themaincharacterhasafearandadesire.Theyareawareoftheirdesire,whichisthegoalofthestory.Buttheyareunawareoftheirfear,whichisburieddeepinsidethem.Thisfearhascontrolledthemsinceearlychildhood.Todealwiththisfear,thechildcreatedadefensemechanism.Whichturnedthemintothetypeofpersontheyaretoday.Toachievetheirgoalinthestory,thecharactermustchange.Tochange,theymustovercometheirfear.Inreallife,peopledon’twanttochange.Infiction,charactersdon’twanttochangeeither.Sothejobofthestorytelleristoforceabelievablechangeuponthem.Todothis,awritermustcraftthestorysothatthecharacterisconfrontedwith
aseriesofobstacles.The character fails again and again to get what they want, until they’ve
exhaustedeveryavailabletacticexcepttheonethey'vebeenavoidingallalong…Characterchange.Thereareninecharactertypes,andeachtypechangesindifferentways.Buttherearesimilarities.Thinkofacharacterarcisamoralarc.Thecharacterchangesinamoraldirection.Towardsgoodorevil.
Rightorwrong.Lightordark.Ingeneral terms,andmovingfromgoodtoevil, theninestagesofcharacter
changeare:Virtuous
1.Liberated
Thecharacterhasovercometheirfearandachievedtheirdesire.Theyarefree,transcendent,andself-actualized.Aparagonofvirtue.
2.Capable
Thecharacterispsychologicallyhealthy,buttheirdominantfearispresent.Soistheirunmetdesire.Todealwithanxiety,thecharacterusesdefensemechanismsthatshapetheir
styleofthinking,feeling,andacting.
3.Valuable
Thecharacterisaconstructivememberofsociety,andrelativelyhealthy.Buttheyhavesecondaryfearsanddesiresthatcomplicatetheircharacter.Theyarewithinreachofliberation.Ifonlytheycanovercometheirdominantfear.Andtakevirtuousactiontoachievetheirdesire.
Neutral
4.Imbalanced
The character has given in to an unhealthy temptation that now pulls themtowardtheirdarkside.Nevertheless,theiractionsfallwellwithinthemoralityoftheirculture.Theirflawsareeasilyoverlooked,becausetheyaresocommon.Butthecharacterhasviolatedtheirbestinterests.Theyhavesinnedagainstthemselves.Becausetheyareresistingthebetterangelsoftheirnature,theirpositivemoral
developmentisinjeopardy.
5.Controlling
Thecharacterattemptstocontroltheirworldbypresentingafalseself.Theywearthemaskoftheircharactertype.Defensemechanisms,whichwerecreatedtocontroltheirownfear,nowkeep
thecharacterinconflictwithotherpeople,andwiththeworld.The character is morally and psychologically average, in a world of the
walkingwounded.
6.Overcompensating
Thecharacter’sdefensemechanismsaren’tworkingproperly.Otherpeoplebegintosensethatsomethingaboutthischaracteriswrong.Thecharacterovercompensatesbygivingevenmorepowertotheirfalseself.Theybecomeself-centeredinamannerthatmatchestheircharactertype,and
theyactoutinunhealthyandinappropriateways.
Villainous
7.Violating
Because of someoutside stress, the character’s normal defensemechanismshavefailed.Thecharacterisnowinsurvivalmode.Theymustprotectthemselves,whilestilltryingtosaveface.Butthefacetheyaretryingtosaveisamaskoftheirownmaking.Thecharacterisunbalanced.Depending on their character type, they will either violate others or
themselves.They are still redeemable, but they have crossed amoral bridge and joined
forceswiththedarkside.
8.Delusional
Thecharacter’sperceptionofrealityiscompletelydistorted.Theyarecompulsiveintheirthinking,feeling,andactions.They’velostcontrolofthemselvesandtheirreality.Dependingontheircharactertype,variouspathologiesbegintoemerge.Thefalseselfisfallingapart.Beneaththecrumblingmaskisnakedfear.
9.Pathological
Thecharacterisextremelyviolentanddestructive.Theyarecapableofdestroyingthemselvesand/orothers.Theymayevendestroytheirworld.Depletedofallmoralandpsychologicalresources,theyfinallyconquertheir
fearthroughannihilation.
Sothosearetheninestagesofcharacterchange,astheyapplygenerallytoallninecharactertypes.Itisdifficultforacharactertomoveuptoahigherstage.Instead,theytendtotakeonthetraitsofanothercharactertype,asrepresented
bythestraightlinesoftheEnneagram.Instories,mostcharacterarcsmovefromonestagetothenexthigherorlower
stage.For example, a story might depict a character advancing from imbalanced
(stagefour)tosociallyvaluable(stagethree).Manystorieshavedoneso.To show a character arc from being delusional (stage eight) to being in
control (stage five),youmust show thecharacter’s struggle to riseup througheachoftheintermediatestages,onebyone.Otherwisetheaudiencewillnotbelievethechange.Andthestorywillfail.However,itmustbementionedthattheoppositeisnotnecessarilytrue.Villainscanfallfastandlandhard.Forexample,avillainmightbeginasavaluablememberofsociety(Stage3)
andinonlyoneortwostepsplummetintoadeeppathology(Stage9).Because we are rooting for the villain to fall, we can happily accept their
completeandutterbreakdown.Butifthecharacterisatragichero,likeWalterWhiteinBreakingBad,then
theaudiencewantstoexperiencethefallwithhim,andyoushouldclearlydepicteachstageofhisdescent.
Next,we’llexploreanamazinglypowerfultoolforcreatinggreatcharacters:characterreactionpatterns.
HowtoWriteCharacterReactionPatternsWritingteachers,storycoaches,
andscreenwritinggurusoftensay:“Storycomesfromcharacter.”Or:“Storyischaracter.”Andthat’strue.Unfortunately, these writing teachers rarely go into detail about what that
actuallymeans.Orhowitworks.Well,I’mabouttoshowyouexactlyhowitworks.
MasterthePattern,andYouMastertheGame
Inastory,whenacharacterisconfrontedwithamajorstress,theyreact.Howdotheyreact?Characters react to major stresses in ways that are both unique and
predictable.Therearepatterns.Icallthemcharacterreactionpatterns.Ifyouknowacharacter’stype,thenyoucanknowhowtheywilltendtoreact
tomajorstresses.Knowingthesepatternscanhelpyoutowriteorrewriteyourstory.If you’re outlining a plot, you can use these patterns to come upwith new
scenes.Thiscanbeahugehelpinplottingyourscreenplayornovel.Ifyou’rerewritingastory,andyousensethatsomethingisn’tworking—orif
you’re strugglingwith rewrite notes from someone else—you can check yourcharacter’sreactionsagainstthesepatternstoseeifthereisabetterwaytowriteascene,ormaybeevenchangetheplot.Butwhatexactlyarethesecharacterreactionpatterns?TheyarepartoftheEnneagram,whichIintroducedinpreviouschapters.Character reaction patterns are an advanced writing technique, so youmay
wanttoreviewtheseearlierchaptersbeforemovingahead.Okay,nowlet’stakeanotherlookattheEnneagramsymbol:
Seethosestraightlinesinsidethecircle?Whatthehellarethose?Dotheymeansomething?Theysuredo.
TensionLinesandRelaxationLines
IcallthosetheTensionLinesandRelaxationLines.Psychologistscallthemthe“linesofintegrationanddisintegration,”butIlike
tothinkintermsofstory.Andstoriesaredrivenbytension.Thistensionisfeltinsideacharacter,butresolvedthroughcharacteractionsin
the outside world. Thus it is the character’s inner tension, their anxiety, thatdrivesthestory.Inotherwords:“Storycomesfromcharacter.”Thisinnertensioniswhatultimatelywillcausethecharactertochangeintoa
betterorworseversionofthemselves,inwhatisknownasacharacterarc.On theEnneagram,you’ll notice that the lines inside the circle connectone
charactertypetoanothercharactertype.Thesearen’tjustlines.They’revectors.Which means that they each have a direction:
The lines are Tension Lines when a character goes in the direction of thearrows.ThelinesareRelaxationLineswhenacharactergoesinthedirectionopposite
tothearrows.Ofcourse,mostcharacterswouldprefertorelax.Butthedamnstorywon’tletthem.Afterall,that’swhatthestoryisfor.Totestthecharacter.
MinorStressvs.MajorStress
Now, we need to make a distinction between minor stresses and majorstresses.When a character is confronted with minor stresses—their day-to-day
problems—theycanusetheirnormaltactics.There’snoneedfor themtochange theirapproach inorder tohandleminor
stresses, becausewhatever the character is already doing isworking for them.They have mastered a set of tools and tactics to deal with their life in theordinaryworld.Thesetoolsandtacticsworkmostofthetime.Inthecharacter’sstatusquo,atthebeginningofastory,thesetoolsandtactics
workjustfine.Butinastory,themaincharacterfacesamajorstress.Orbetteryet,aseriesofmajorstresses.In story theory, these major stresses are sometimes called plot points,
midpoints,turningpoints,plottwists,reversals,etc.Whateveryoucallthem,theyareallmajorstressesonacharacter.Thesemajorstressesforcethecharactertoreactinnewways.Eventually,themaincharacterisforcedbythesemajorstressestochangein
some deep, fundamentalway, for better orworse, to complete their characterarc.
CharacterReactionPatterns
Sowhathappenswhenacharacter,livingintheirordinaryworld,issuddenlyfacedwithamajorstress?Theytrytorelievethatstress.First,they’llusetheirnormaltoolsandtactics.Butthosestandardtricksdon’twork.To relieve the tension caused by the first major stress in the story, the
characteractsout.WhatdoImeanbythat?Imeanthattheyactoutsidetheirnormalcharactertype.Theyactlikeacompletelydifferentcharactertype.Thereisapatterntohoweachcharactertypereacts,or“actsout,”whenfaced
withamajorstress.The key is that they seek a defense outpost, and they find that outpost by
followingtheirTensionLine.
DefenseOutposts
Solet’slookatanexample:
NoticeontheEnneagramthataTensionLineconnectsType8toType5.AndType2toType8.Thismeans that when a Type 8 character, a Leader, is facedwith amajor
stress,theywillseekadefenseoutpostatType5.HeretheywillactoutasaType5character,anObserver.However,whenaType8character isatpeace, theymayactoutalong their
RelaxationLine,asaType2character,theHelper.In a story, we’re much less concerned about characters at peace, because
storiesaredesignedtoputcharactersintension.So,acharacterwillbegivenaseriesofmajorstresses,whichwillrepeatedly
testtheirmettle,knockingthembackagainandagain.Eachtimeamajorstressknocksthemback,theyreachanewdefenseoutpost
wheretheytemporarilyactoutasanewcharactertype.Most importantly, each defense outpost is an opportunity for character
growth.It is at these defense outposts that a character learns something new about
themselves.For example,when a Type 8Leader character is stressed and acts out as a
Type 5 Observer, he first exhibits the negative aspects of that new charactertype:
reclusiveeccentricarrogantcold
nihilistic
But then, being a hero, the character picks himself back up and begins tointegrateintohispersonathepositiveaspectsoftheObservertype:
self-sufficientstrategicinventiveconceptualizer
To show the character’s arc, it is important to show some small characterchangesineachofthesedefenseoutposts.Okay,sowhatgoodisallthischaractertypetheory?What’sitfor?Remember:“Storycomesfromcharacter.”Canweusethesecharacterreactionpatternstocreateastory?Wesurecan!
MeettheCrimeBoss
Imagine,ifyouwill,aCrimeBoss.He’saType8character.ALeader.Herunsthefamilybusiness.He’sthebigmanincharge.Whatishisordinaryworld?It’s the crime world, and of course it’s full of stress, but our Crime Boss
knowsthisworld,andhe’sprettycomfortableinthisworld.Thisishisdomain.Whenminorstressesarise,hedealswiththemlikeaType8.He’saggressiveandinstinctual.Butalwaysincontrol.So if this were a movie, we might first establish our Crime Boss in his
ordinaryworld,facingsomeordinaryproblems,andsolvingthemquiteeasilybyusinghisordinarytoolsandtactics.Butthen,earlyinthestory,he’sfacedwithamajorstress.Somekindofthreat.Eitherfromoutsidehisworldorabetrayalfromtheinside.Orboth.Nowsuddenlythisisacrisissituation.
Our Crime Boss tries to solve this new problemwith his normal tools andtactics. He’s reluctant to change his methods of operation, because they’vealwaysworkedforhimbefore.Butthistime,it’sdifferent.Thestresswon’tgoaway.Andnowhisbackistothewall.He’salreadyrunthroughhisusualbagoftricks.Whatdoeshedonow?Somethingnew.HereactsalonghisTensionLine.AndfindsadefenseoutpostatType5.Inotherwords,heactsoutasanObservercharacter.
GimmeShelter
Well,whatdoweknowaboutObservercharacters?Theyare,amongotherthings:
reclusivestrategicinventivecuriousconceptualizers
Okaythen.Asstorytellers,thatgivesussomethingtoworkwith.Let’ssayourCrimeBossbecomesreclusive.Herunstothesafehouse.Thehideout.Yes,it’sabitbeneathhisdignity,butthatcan’tbehelpedrightnow.Thisisa
majorstress,afterall,andthat’swhatthesafehouseisfor.Timetouseit.So our Crime Boss is hiding in his safe house, acting like an Observer to
relievethetensioncausedbythismajorstress.Whatishegoingtodoinhissafehouse?
lickhiswoundsfigurethingsoutinvestigatetheproblem
comeupwithanewplan
ThisistheordinaryworldforanObserver.ButforourCrimeBoss,aType8Leader, this isadefenseoutpost.Heonly
goeshereinadeepexistentialcrisis.He’snotverycomfortableacting likeaType5character,butnowsuddenly
he’sbeenpushedherebycircumstancesbeyondhiscontrol.Our Crime Boss is not completely out of his element, but he is out of his
comfortzone.Anxietyisrunningprettyhigh.So as he investigates, and plans, and figures things out, and grows as a
character,whathappens?Hisstressisreduced.Well,that’sgoodnewsforourCrimeBoss.Hischangeoftacticsisstartingtowork.Hisanxietyisbeginningtoease.He’s
feelingalotbetteraboutthingsnow,andhehasanewplanthatjustmightwork.Ashis inner tension is reduced, andhe starts to relaxmore, hewill tend to
movebackalonghisRelaxationLine.Iftheproblemistrulysolved,thenourCrimeBosscangobacktobeinghis
normalType8Leaderself.Maybeheleavesthesafehousewithhisnewplan,thinkinghecanreturnhis
ordinaryworld.Ifhecan,thestoryisover.Theend.Wellnow,holdonaminute.That’snotverysatisfying,isit?Ourstoryneedssomethingmore.Whatcanwedonowtoimproveourstory?Well,what if, inside thesafehouse—justasourCrimeBosshasformulated
his brilliant newplan to dealwith the firstmajor stress—he’shit by a secondmajorstress?Whatwouldhappenthen?Well, right now our Type 8 Crime Boss is still acting out as a Type 5
Observer.WhenanObserverisunderstress,wheredotheygo?
RiskyBusiness
AType5ObserverhasaTensionLinethattakesthemtoadefenseoutpostatType7.
WholivesthereatType7?TheAdventurer.SonowourCrimeBoss,facedwithasecondmajorcrisisinarow,actsoutas
anAdventurer.WhatdoweknowaboutAdventurers?Theyare:
extrovertedspontaneousmanicrisk-takers
Well,that’ssomegreatstorymaterialrightthere.Let’susethat.SoourCrimeBossisdefinitelynotgoingtostayreclusive.Andhe’sgoingtohavetotakesomerisks.Ourcharacterisnowforcedout—orluredout—ofhissafehouse.Andhestartstakingsomepreviouslyuncharacteristicrisks.Now,youmight be thinking that ourCrimeBoss, living in theunderworld,
wouldbeusedtotakingrisks.Buthe’snot.Yes,he’saggressive,impulsive,andbossy.That’swhatmakeshimcomfortableinhisordinaryworld.Buthedoesn’tbelieveintakingunnecessaryrisks.
Andwhyshouldhe?He’stheboss.Ifanyoneisgoingtotakearisk,it’sgoingtobehishenchmen.FortheCrimeBosspersonallytotakeariskwouldbebadforbusiness.However,atthispointinthestory,hisbusinessisn’tgoingsowell.Sonowhe’sreactingtothissecondmajorstress.InAdventurermodehecan
reduce his inner tension, his anxiety, his fear, by taking some big risks androllingthedice.If that solves his tension, then he they can relax back to Type 5, and
eventuallyrightbacktoType8,wherehestarted.Andhewon’teverhavetocompletehischaracterarc.Butwhatifthereisathirdmajorstress?Well,rightnowourCrimeBossisactinglikeaType7,anAdventurer,taking
risks,throwingcautiontothewinds.WhenanAdventurerisunderamajorstress,wheredotheygo?
Housecleaning
AType7AdventurerhasaTensionLinethattakesthemtoadefenseoutpostatType1.
WholivesthereatType1?TheReformer.WhatareReformerslike?
organizedefficientjudgmentalself-righteous
So maybe as a result of this third major stress, our Crime Boss becomesjudgmentalandstartstopointthefingeratthosearoundhim.Hethinksthesemajorstressesareallthefaultofhisunderlings.Orhispartnersincrime.Timetogetridofthebadapples.Therearegoingtobesomechangesaroundhere,andourCrimeBossisjust
themantodoit.Somaybehestartsto“restructure”hisbusiness,and“implementreforms.”What does that mean in the criminal underworld? He can’t just fire his
employeesandbusinesspartners.Hehastofireatthem.Sohebumpsthemoff.But what if putting the hit on his former associates doesn’t solve his
problems?Whatifitbackfires?Thatsoundsgood—forourstory,anyway.Maybenotsogoodforourhero.Let’sgivehimafourthmajorstress.Well, rightnowourCrimeBoss is acting like aType1, aReformer, fixing
whatneedstobefixed.WhenaReformerisunderamajorstress,wheredotheygo?
MasterofDisguise
AType1ReformerhasaTensionLinethattakesthemtoadefenseoutpostatType4.
WholivesthereatType4?TheArtist.WhatareArtistslike?
individualisticidealisticcreativetransformative
Okay,sonowhehastogetcreative.Hisclevertacticofkillingisclosestfriendshasturnedeveryoneelseintoan
enemy.OurCrimeBoss ison therun,withnowhere left togo.Noonehecanturnto.Isthereacreativesolution?Atransformation?Adisguise!Hebecomesanactor.Playsarole.Ifit’sacomedy,hemightputonadress.Let’ssayit’snotacomedy,andhegoesforplasticsurgery.Facialreconstruction.Nowwhat?Afifthmajorstress,ofcourse.Someone put a price on his head, and when our Crime Boss is on the
operatingtable,theplasticsurgeontriestokillhim!Ourherocan’tcatchabreak.Hethinks,“Please,God,whyisthishappeningtome?”Becauseyou’reinamovie,pal.Dealwithit.Howdoeshedealwithit?Well, right now our Crime Boss is acting like a Type 4, an Artist, being
creative.WhenanArtistisunderamajorstress,wheredotheygo?
Help!
AType4Artist has aTensionLine that takes them to a defenseoutpost atType2.
WholivesthereatType2?TheHelper.WhatareHelperslike?
generouscaringinsightfulpossessivemanipulative
vindictive
NowourCrimeBossiswayoutofhiscomfortzone.He’sanatural-bornLeader,notaHelper.Butafterescapingcertaindeathatthehandsofhisplasticsurgeon,heendsup
onthestreets,homeless.Maybeinashelter.AttheshelterheisfedandclothedandgivenaBible.Hisbotchedsurgeryhas
lefthimmutilatedandunrecognizable,soaprettyfemaledoctorwhovolunteersattheshelterpatcheshimup.Helikesher,andhelikesthesafetyofthisplace,butafterhisfaceishealed
hecanonlystayattheshelterifhevolunteersinthesoupkitchen.Sohedoes.Hebeginstohelpothersandmaybe,forthefirsttimeinhislife,hegetslove
inreturn.Themanwhowasonceemotionallyindependentisnow,forashortwhileat
least,emotionallyinterdependent.He’s been on a whirlwind tour of his own psyche, exploring the best and
worstaspectsofhisinnerself,andwhathasitearnedhim?Willthisbealastingchange?Toosoontotell.IfourCrimeBosshasnomoremajor stresses, theneventuallyhewill relax
backintohisoldself.Buthehasonefinalchallenge.Andit’sabigone.BecausethislastmajorstresswillpushhimalongtheTensionLineofType2.Whichtakeshimrightbackto…
Type8.Fullcircle.Butthisisn’texactlywherehestarted.Hecan’tgohomeagain.Hisworldhaschangedforever.IfhecontinuestomovealongtheTensionLine,thislastmajorstressisgoing
tochangehiminamoraldirection.Intoabetterorworseversionofhisformerself.Butwillthischangebegoodorbad?
TheMoralChoice
In the real world, and in the Enneagram system of personality, a personmovingin thedirectionofdisintegration,alongtheTensionLines,will tendtotakeonthenegativecharacteristicsofthenewtype.When a person in the realworld faces a series ofmajor life stresses, these
eventswilltendtoleadthepersontoincreasinglyunhealthystates,perhapseventodesperate,abhorrent,andcriminalbehaviors.In therealworld,severeandprolongedstressrobsusofour innerresources
andwearsusdown,physicallyandspiritually.Inafictionalstory,however,we’rerootingfortheherotochangeinapositive
direction.Wewanthimtoriseabovehischallenges.That’showheproveshimselfahero.Heneedstogothroughhell.
Andback.Sointhefinalconfrontation,hemustovercomehisdarkside,hisshadowself,
andmakeamoralchoiceforgood.To face this final challenge, he must use everything he has learned on his
journeytobecomeabetterversionofhimself.Ifnot,thenhewillself-destruct,becomingatragicherooravillain.Sointhefinalbattleofourstory,whenthearmyofbadguyscomesgunning
forourCrimeBossatthehomelessshelter,ourherowillmakeamoralchoice.Ifhemakesthechoiceforgood,thenhewilldefeatthebadguys,winthelove
oftheprettydoctor,andcompletehischaracterarc.
Denouement
So that’s an example of how to use a character reaction pattern to create astory.FollowingtheTensionLines,weusedthissequence:
8,5,7,1,4,2,8
Clearly, this particular crime story isn’t fully developed. I didn’t work outmostofthedetails.ButIhopeyoucanseehowyoucanbegintousecharacterreactionpatternsto
developyourownstoryfromcharactertypesandtensions.OfcourseyoucanstartwithanycharactertypeandfollowtheTensionLines
tomapoutadifferentstory.Sothenaturalsequencefor,say,aType9Housewifewouldbe:
9,6,3,9
This may all seem a bit formulaic, but in the hands of a good writer, acharacterreactionpatternisatoolthatleavesplentyofroomforcreativity.Thepatternisaguide.Yousupplythedetails.Inourcrimestory,ateachdefenseoutpost,wesawadifferentaspectofour
CrimeBoss,thusroundingouthischaracter.Ifwe’vedoneour jobs right, theherowill seem to theaudience—and toan
actorreadingthescript—likeafullyfleshed-outperson.Ofcourse,I’msureyoucouldcomeupwithamuchbetterstorythantheoneI
improvisedhere.AndIhopeyoudo.
Ilookforwardtoseeingitonthebigscreen.
CharacterSecretsCaseStudy:Maleficent
In theprevious chapter, Imadeup an exampleof aType8 character goingthroughacomplete6-stepcharacterarc.ButcanwefindthissamepatterninrealHollywoodmovies?Ofcoursewecan.Let’stakeacloselookatthetitlecharacterinDisney’sMaleficent.I’ll be going into spoilers here, so if you haven’t seenMaleficent yet, you
mightwanttocheckitoutfirst.ThescreenplayisbyLindaWoolverton,whosecreditsincludeBeautyandthe
BeastandTheLionKing.She’soneofthebestwritersinthebusiness,andreallyknowswhatshe’sdoingwhenitcomestothesekindsoffairytalemovies.Anywritercouldlearnalotbystudyinghowshehandleshercharacters.
TheLeaderType
InMaleficent,thetitlecharacterisaType8Leader.ShealsohassomecharacteristicsofaType9Diplomat,whichmeansthatis
her“wing.”In Enneagram parlance, that makes her an “8w9,” or an eight with a nine
wing.You see, the circle of the Enneagram is actually a spectrum of personality
types.Mostpeoplewillnotbeapuretype,butinsteadwilltendtofavoroneofthe
neighboringtypes,or“wings,”thetypesnexttotheirsonthecircle.In Maleficent’s case, she is a Leader first, but leans a bit toward being a
Diplomat,alsoknownasaPeacemaker.WhatdoweknowaboutType8Leaders?They:
fearbeingcontrolledwanttocontrolthemselvesandotherscanbegreatprotectorsandleaderstendtosuppresstheiremotionsareself-reliantandself-confidentcanbecomeobsessedwithpowerhaveproblemswithangercanbecomeruthlessandvengeful
Maleficentisanexcellentexampleofthistype.Hercharacterarcgoesthroughall6stepsinthecharacterreactionpatternfor
aType8Leader.
The6-StepPattern
Whenconfrontedbyamajorlifestress,characterswilltendto“actout”asadifferenttypethantheircorecharactertype.ForaLeader,thereisa6-steppattern.ItstartsatType8andreturnstoType8—butatahigherorlowerlevelof
morality.Youcanseethispatternbyfollowingthearrows:
Followingthearrows,thepatternis:8,5,7,1,4,2,andbackto8.Sohereare6stepsinMaleficent’scharacterarc,fromaType8Leaderto:
Type5ObserverType7AdventurerType1ReformerType4ArtistType2HelperType8Leader,butatahighermorallevel
Thismaysoundcomplicated,butyou’llget thehangof itaswego throughtheexample.Andwithpractice,itcanbecomesecond-nature.Solet’sseehowthispatternworksinMaleficent.
Maleficent:ProtectoroftheFaerieRealm
At the beginning of the story, Maleficent is a young, happy faerie in anenchantedrealmknownastheMoors.Sheisanatural-bornprotector.Whenahumanpeasantboy,Stefan,wandersintotheMoors,Maleficentgoes
toconfronthim.Hehasstolenarock.Shemakeshimreturnit.
Overseveralyears,MaleficentandStefangrowinfatuatedwitheachother.Butthentheydriftapart.BecauseStefanstopscomingtovisither.Asanadult,MaleficentistheprotectoroftheMoors.When the humanking,Henry, launches an attack on theMoors,Maleficent
successfullyleadsthedefense.KingHenryisfatallywounded,butbeforehedieshepromiseshiskingdomto
whoeverkillsMaleficent.
Stefan:VaultingAmbition
StefanisaType3Achiever,ruledbyhisambition.Hegrewupinabarn,butwantstobeking.Hischaracterarchasa3-steppattern,fromaType3Achieverto:
Type9DiplomatType6QuestionerType3Achiever,butatalowermorallevel
Heisthevillain.
TheType3Achiever’sdominantfearisthefearofbeingworthless.Theystrivetoprovetheirworth.Theysuppresstheiremotionstoachievetheirgoals.
Under extreme circumstances, theywill do anything to getwhat theywant,evenifitmeansdeceivingtheonestheylove.ThisisexactlywhatStefandoes.HegoestoMaleficent,andsays,“I’vecometowarnyou.Theymeantokill
you.KingHenrywillstopatnothing.Please,youhavetotrustme.”Anycharacterwhosays“trustme”isimmediatelysuspect.Sadly,Maleficenthasn’tyetlearnedthatrule.TheNarratortellsus,“SheforgaveStefanhisfollyandambition.”Ambition,ofcourse,isthekeytoStefan’scharacter.HedrugsMaleficentwithasleepingpotion,andisabouttokillher,butcan’t
quitebringhimselftodoit.Instead,hecutsoffherwings,andbringsthembacktoKingHenry,claiming
thatMaleficentisnowdead.He tells thedyingking, “I shalldomybest tobeaworthy successor,Your
Majesty.”Hehasbetrayedhislovetoprovehisworth.
Maleficent:TheWoundedRecluse
Maleficentwakesinpain,anddiscoversthatherwingsaregone.When aType 8Leader is under amajor stress, they go to the dark side of
Type5,theObserver.Theymaybecomereclusive,tolicktheirwoundsandcomeupwithaplan.ThisisexactlywhatMaleficentdoes.Sheretreatstoherdarkcastle,allalone.A raven comes to visit her, but the now-winglessMaleficent can’t bear the
companyofanycreaturewithwings.Sheblowsintheraven’sface,tochasehimaway.
Maleficent:TheDarkQueen
Maleficentcomesupwithaplan.Shewillbethedarkqueenandgethervengeance.NowshemovesfromType5ObservertoType7Adventurer.Adventurersarerisk-takers.Theyfearbeingdeprived,andtheyescapetheirinnerpainbyactingoutinthe
world.
Havinglostherwings,Maleficentfearsalifeofdeprivation.Sheescapesherinnerpainbytakingrisksintheformofvengeance(thedark
impulseoftheLeadertype).Maleficentleavesherdarkcastleandrescuestheraven,Diaval,whohasbeen
trappedbyhumans.ShemagicallyremovesDiaval’swingsandmakeshimhuman.Hebecomesashape-shifter,butunderMaleficent’scontrol.Sheisstillaprotector,butisactingoutofherdarkside.Now, insteadofbeing themoralprotectorofa free realm,Maleficent is the
masterofaminion.Diavalspiesforher,anddiscoversthetruthaboutStefan.Sherealizes,“Hedidthistomesohewouldbeking.”In awild rage (apotential problemwithType8Leaders), she screams, and
greenflamesshootintothesky.Obsessedwithpower,shebecomestheDarkQueen.Thefaerierealm,likeherheart,growsanimpenetrablewallofthorns.
Stefan:TheReluctantDiplomat
Stefanisnowking,andmarried,andhasabrandnewchild,Aurora.Maleficentlearnsofthis,andinterruptsthechristeningceremonytodelivera
curse:WhenAuroraturns16,shewillprickherfingeronaspindleandfallintoadeathsleep.NopoweronEarthwillbeablechangethespell.Stefan,anAchiever,isnowunderamajorstress.Whenunderstress,aType3AchieveractsoutasaType9Diplomat.SoKingStefan,whocannothopetodefeattheDarkQueen,triesdiplomacy.Hebegshertosparethechild.Maleficent grants him one hope: the princess can be woken by true love’s
kiss.ButMaleficentknowsthereisnosuchthingastruelove,sothisismerelya
twistoftheknifetoherfalselover,Stefan.
Stefan:TheParanoid
Defeated,KingStefanbecomesincreasinglyparanoid.The Narrator tells us, “As the days went on, Stefan darkened, further
consumedbyparanoiaandvengeance.”ThisisthedarksideoftheType6Questioner.He orders all the spindles in the kingdom burned, and sends his infant
daughterAuroraintohiding.Aloneinadarkroom,thekingfearsMaleficent’sreturn:“She’scoming.”
Maleficent:TheCritic
Maleficent’svengeanceagainstKingStefanisaPyrrhicvictory.Shehaswonpower.Butlostlove.Unsatisfiedwiththeemptinessofherlife,shemovesfromType7Adventurer
toType1Reformer.Reformers are, among other things, judgmental, and Maleficent begins
expressingthistrait.WhenthekingsendsbabyAuroraintohiding,Maleficentfindsthebabyina
secludedcottage.Shesays,“It’ssougly,youcouldalmostfeelsorryforit.”Ofcourse,Maleficentcannotyetadmitanysuchfeelings,eventoherself.Herfeelingsaresafelylockedaway.Shesaystothesmilinginfant,“Ihateyou,Beastie.”Ofcourse,Maleficentisreallypassingjudgmentonherself.Shehatesherself.Withoutwings,shethinksofherselfasaBeastie.She now projects these feelings outward, onto the child, because to
acknowledgehertruefeelingswouldrisklosingcontrolofherselfandherworld.ItisnowclearthatMaleficent’sinnerstruggleisbetweenhersenseofcontrol
andherbanishedfeelings.WhenMaleficenthears thebabycrying, thequeencomplains,“It’sgoing to
starvewith those three lookingafter it,” referring to the threebungling faeriessentasAurora’sguardians.ThisisMaleficentbeingaperfectionist,areformer.The three faeriesaren’tgoodenoughforAurora,soMaleficentmuststep in
anddothejobtherightway.Soshesendstheraventofeedtheinfantwithflowernectar.MaleficentistornbetweenwantingtokillAuroraandwantingtoprotecther.This isshownwhen thequeen temptsAurorawithabutterfly,and leads the
littlegirltowardtheedgeofacliff.
“OhLook,”MaleficentsaystoDiaval,“thelittlebeastieisabouttofalloffthecliff.”ButMaleficentsavesthegirl.The faerie queen is not totally evil, but is still tempted by her darkest
impulses.WhenAurora grows up andmeetsMaleficent, the queen declares, “I don’t
likechildren.”Butwhenthegirlleaves,thequeenisthreatenedbytears.
Maleficent:TheFakeFairyGodmother
Maleficentbrings thegirl into theMoor,allowingAurora inside thewallofthorns.Aurorathinkseverythingisbeautiful,includingMaleficent,whoshemistakes
forherfairygodmother.Now,insteadofcorrectingthegirl,likeaType1Reformer,Maleficentplays
along,likeaType4Artist.ButAurora’s happiness is a threat toMaleficent’s emotional control, so the
queeninterruptsthegirlbyputtinghertosleep.RejectingthejoythatAuroraoffers.ButMaleficentcontinuestoactasifsheisagoodperson,amoralprotector,a
fairygodmother.ThisbeginstobringoutMaleficent’struefeelings.WatchingAuroragetintoamudfightwithfaeriecreatures,Maleficentlowers
herguardandallowsherselfasmile.Atfirstit’sonlyahintoffeeling—atseeingayoungbeautycoveredwithmud
—butitisacrackinthewall.ButthenMaleficentgetshitwithmud.AndDiavallaughs.Ohno!Howwilltheevilqueenreact?Insteadofraging,Maleficentplaysalong.Shethrowsmudatherservant.Yes,it’sasmallstep,andsheretaliatesagainstherservant,but
thistimeit’snotoutofanger.It’sallpartofthegame.AurorahaschangedMaleficent.
Maleficent:TheHelper
MaleficentnowwantstosaveAurorafromthecurse.SheactsoutasaType2Helper.“Irevokethecurse,”shecommands.“Letitbenomore.”Butitdoesn’twork.BecausenopoweronEarthcanchangeit.Thecursestands.Maleficentisgoingtolosetheonlyjoyinherlife.She looksonasPrincePhillipmeetsAurora,butMaleficentdoesn’tbelieve
theprincecansavethegirl.“True love’s kiss?” the queen says toDiaval. “Have you notworked it out
yet?Icursedherthatwaybecausethereisnosuchthing.”Shedoesn’tbelieveinapowergreaterthanherself.Noteven—andespeciallynot—love.ThenAurora discovers the truth about her own past, and aboutMaleficent,
andsheconfrontsherfakefairygodmother:“You’retheevilthat’sintheworld.It’syou!”Aurorarunsaway,togobacktoherunknownfather,theking.
Maleficent:TheEnlightenedLeader
MaleficentbeganasaType8LeaderwithaType9wing,whichmeansshehassometraitsoftheDiplomat.ThedominantfearforaType9Diplomatisthefearofseparation,orthefear
ofloss.MaleficentisnowafraidoflosingAurora.Her fear of separating forever from the girl she has grown to love now
overridesherfearoflosingcontrol.MaleficentbeginsactingagainasaLeaderwithaDiplomatwing.SheabductsPrincePhillipandhurriestothecastletosaveAurora.Butsheistoolate.Aurorafallsintothedeathsleep.Upon reaching the castle, Diaval warnsMaleficent that they won’t get out
alive.Maleficentreplies,“Thendon’tcome.It’snotyourfight.”Shefreesherminion—voluntarilygivesuppowerandcontroloverhim.
NowMaleficentmustinfactbecomethepersonshewaspretendingtobe—Aurora’sfairygodmother.OnlyshecanprotectAuroranow.ThetruetesttoseeifMaleficenthascompletedhercharacterarccomesafter
PrincePhillipfailstowakeAurorawithakiss.Maleficentopenlyexpressesherfeelings:“SweetAurora,youstolewhatwas leftofmyheart.AndnowI’ve lostyou
forever.IswearnoharmwillcometoyouaslongasIlive,andnotadayshallpassthatIwon’tmissyoursmile.”She kisses the girl on the forehead, and Aurora wakes. “Hello, fairy
godmother.”“Hello,Beastie.”Maleficent’scharacterarcisnowcomplete.Butwhatoftheking?
Stefan:TheMadKing
KingStefan’sparanoiahasonlydeepened.He is now a mad king, muttering alone to Maleficent’s stolen wings, and
refusingtovisithisdyingqueen.Inordertoredeemhimself,KingStefanmustmakepeacewithMaleficent,by
goingbacktoaType9Diplomat.Instead,hecompleteshisdownwardarcby returning to thedarksideof the
Type3Achiever,andchoosestofightheratallcost.WhenMaleficentdefeatshim,shemakesthemoralchoicetosparehislife.“It’sover,”shesays.Butthekingisstillmad.Givinguphislastchanceforredemption,heattacks
Maleficentandfallstohisdeath.
Unification
So the storyhas takenMaleficentonagrand tour throughall6 steps inhercharacterarc,fromaType8Leaderto:
Type5ObserverType7AdventurerType1ReformerType4Artist
Type2HelperType8Leader,butatahighermorallevel
Shehasgivenupherneedforcontrol,andopenedupherhearttolove.Now,asaType8LeaderwithaType9Diplomatwing,Maleficentunitesthe
kingdomsoffaeriesandhumans.TheNarrator tellsus,“Maleficentbroughtdownherwallof thornsandtook
offhercrown.AndsheinvitedAuroratoseehowtheMoorshadbeenonce,longago,whenMaleficentwasjustachildandherheartwasbright.Fornow,itwasagain.”
Conclusion
ThankyouverymuchforreadingHowtoWriteGreatCharacters:TheKeytoYourHero’sGrowthandTransformationIhopeyouenjoyedthisexplorationofthe nine fundamental fears, the nine character types, and the nine stages of acompellingcharacterarc.Thesearespecifictoolsyoucanusetodaytoimproveyourwriting.Ofcourse,when itcomes tohumannature,charactercreation,andcharacter
arcs,thereismuchmoretoexplore.If you’d like to learn more about how to write great characters, please
subscribetomyfreenewsletter:Clickheretosignup.
Also,ifyouwouldtakeabriefmomenttoleaveanhonestreviewonAmazon,itwouldbegreatlyappreciated:HowtoWriteGreatCharacters
Reviewshelpnewreadersfindmyworkanddecideifthebookisforthem,aswellasprovidevaluablefeedbacktotheauthor.
TableofContents
ContentsTitlePageCopyrightPageWelcomeWhoIsThisGuy?WhoIsThisBookFor?WhatIsaStory?WhyWeNeedGreatCharactersNineFundamentalFearsThatMotivateYourCharactersNineCharacterTypesThatWillImproveYourStoryNineStagesofaCompellingCharacterArcHowtoWriteCharacterReactionPatternsCaseStudy:"Maleficent"Conclusion