The most crushing piece of criticism authors can hear is that their main character is “flat” or “two-dimensional.” This is especially true for writers who have poured a lot of their personal experience into their protagonist’s journey. Conventional writing wisdom tells us that main characters need to be “dynamic” characters who evolve over the course of the story.
But what exactly does “dynamic” mean? If your protagonist doesn’t actually change all that much, does that make them flat and static? Are they, by default, a poorly written character?
What does it really mean to be a dynamic character?
A dynamic character is popularly defined as one who goes through substantial internal change over the course of a story. For instance, misanthropic miser Ebenezer Scrooge is presented with the consequences of his behavior and becomes a kinder, more generous man because of it.
Scrooge is the classic example of a dynamic character—although his personal transformation lacks a certain … psychological truth, shall we say?
Protagonists will often “learn a lesson” and change themselves for the better before they can achieve their goals. To use a cliché: a high-flying executive doesn’t pay attention to his family—but faced with the prospect of completing that giant merger or attending his kid’s ballet recital, he realizes that there’s more to life than work. That is a classic (though overused) dynamic character arc.
But is it intrinsically better than a story in which a character doesn’t learn a lesson and change?
People are resistant to change
Most popular books in Western literature will feature a traditionally defined dynamic protagonist. There are very few intentionally static main characters. If an author’s aim is to capture a reader’s attention and investment, they must look towards creating a protagonist with whom they can empathise.
That’s part of why dynamic characters are so appealing: we like to see ourselves as creatures who can acknowledge when we’re wrong and adapt ourselves to a changing world.
But how realistic are these changes? As human beings, we very rarely encounter epiphanies that alter our perception of ourselves. We are creatures of habit, and it takes a lot for us to modify our behaviour. So it stands to reason that compelling fictional characters might sometimes not change in the face of conflict.
Don’t change the player, change the game
Instead of seeing dynamic characters as ones who change over the course of a story, I believe it’s better to think of them as dealing with a conflict that compels them to change.
The example I’ve used before is Suzanne Collins’ The Hunger Games. We are introduced to the protagonist, Katniss: a resourceful, selfless person who refuses to kill. She is placed in a deadly game in which she is told that killing is the only way to survive. Her instincts for self-preservation come into conflict with her principles.
In other stories, similar characters may: a) survive by learning how to kill, or b) refuse to kill and die. But in Katniss’s case, she manages to “break the system” and win the game while also saving the life of her friend.
To some, this may seem like a cop-out: she doesn’t have to resolve any conflict. But, in fact, she does. Her basic worldview and principles remain unchanged, but that in and of itself was the struggle: she was put through an external conflict that tried to compel her otherwise. Where protagonists elsewhere must work hard to change, she has had to work just as hard NOT to change.
So long as your character’s behaviours remains true to their desires, flaws and strengths, any outcome to their story will be equally valid—regardless of whether they’ve changed in an outwardly notable way.
Is your character’s evolution the most interesting and believable option?
The next time you find yourself reviewing your protagonist’s arc, take a moment to consider what you already know about their personality. Given the conflict they find themselves in, which would be a more interesting outcome: if they changed their ways, or if they stuck to their guns? And which outcome rings more true to character?
If the answer isn’t the same for both questions, that’s certainly something to look at before you start your next draft.
How do you write protagonists who don't change? Let us know in the comments.
PRACTICE
Take fifteen minutes to write a scene that takes place at the climax of a character’s story: faced with immense pressure to change their worldview or amend their character flaws, your protagonist refuses.
For extra points, “show don’t tell”: don’t directly reveal what you character is thinking. Find another way to demonstrate their internal struggle.
When you're done, share your scene in the comments. Don't forget to leave feedback for your fellow writers!
The seraph held out her hand, a globe of light glimmering within her palm. “Come and be cleansed, Caedis. Purge yourself of their corruption. You will be whole.”
She seeks to diminish you, to rob you of the power you possess, the power you deserve. You would become her pawn, powerless like those who kneel at your feet.
“Your soul will be free from the clutches of darkness. Embrace the healing light.”
Caedis looked to the patterned circle before, the dagger clutched in his hand. He looked at the seraph, then at the dark veins creeping across his skin. Then back toward the seraph’s light.
“Blood for power. Power for blood.” He smiled as he said the words. Bolts of lightning burst from his hands, snaking their way toward the seraph.
Nice! I would perhaps suggest being a little more careful with the dialogue. It’s a strong, bold choice not to use traditional dialogue tags (“Come and be cleansed,” she said) but it did mean that I had to read this quite carefully to know whether the seraph or Caedis was speaking at certain points. Good stuff, though!
I found this confusing. But then, I often find fantasy scenes confusing, so that probably says more about me than it does about your writing.
Joe looked at Ana. “At first the government only harassed my cattle with their little spy plane, stampeding them into the forest for him to round up, but then they wanted to take the ranch I swore to my dying wife and her father I would never part with.”
“What here they looking for?”
“They learned my wife’s grandfather staked a silver claim on the property up in the mountains. They wanted it, so next they offered to buy it. When I wouldn’t sell to their henchman or the real estate agent from town with her ‘rich secret buyer,’ they sent two thugs to beat up my foreman and shoot his son. The boy is fighting for his life.”
Ana gasped. “That’s terrible.”
“Then there was the forest fire up in the box canyon, nearly started a range fire. Luckily, the forest spotters up at Tahoe saw the smoke and called in the fire, search, and rescue folks and they put it out quickly.”
“What did you do next?” she asked and moved from the porch rail to sit beside him in a wicker chair. She took his hand.
He took a deep breath. “The last straw was sending you to spy on me.”
She bit her lip, but didn’t respond.
“I’m glad we got that straightened out,” he said, grinning.
“Do you have any legal recourse?”
“Against the government? He rubbed the back of his aching neck. “What can I do?”
Ooh, this sounds it has the makings of a great story 🙂 I would say, however, that the conflict that Joe faces in this scene is all external. It’s Joe’s desire to keep the farm vs. the government’s desire to buy it out so they can frack it or whatever.
You make Joe’s decision not to change easier for him by adding government goons who beat up Joe’s employees — at this point, beyond fearing that he’ll get beat up, there’s no upside for him to sell.
An alternative, and potentially interesting conflict might be this: Joe’s dying wife made him promise not to sell the land. However, Joe really can’t bear being on the ranch anymore and wants to sell up and leave, but he refuses to betray his promise. Then, when the government comes a’knockin’ this ignites the central conflict: Joe’s need to honor his wife vs. Joe’s need to look after himself.
Martin, that’s fabulous. Joe had made a promise to this dying wife to keep the farm, but after his foreman is beat up and cattle shot, he’s wondering is it’s all worth it. I love the internal conflict. That’s what I was having trouble writing. Thanks!
“Let’s work together, Summer. If we fight as one, That witch will stand no chance.” Jaune asked.
“Sorry, but not my style.” Summer said with confidence and began to walk to the destroyed tower which had a large dragon on the top. But Jaune grabbed her arm.
“This no time to be the lone wolf. I know you’re the strongest out of all the knights. But not even you can stand a change. Have you forgotten that witch is in control of that dragon.” Jaune stared Summer in the eye. “Please for once in your life have someone help you.”
Summer let out a defeated sigh. “Alright, quite begging me. Knights work together and all that.”
Jaune beamed with happiness then turned to the tower. “Let’s show that which what two knights are made-” he was cut off by blow to the back of the head. Knocking him out cold.
“Sorry for that, but you’ll just get in the way. You’re still green. But I leave the future of our brotherhood to you.”
I like the surprise turn that took!
Thank you.
That’s an interesting turn. That raises some questions for me (which I’m sure would be answered in a longer piece). From what I can glean here, Summer’s ‘flaw’ would appear to be that that she’s is a lone wolf, or a misanthrope, or has trouble trusting others. But you’re also hinting at something that’s buried a bit deeper that would be fun to explore.
Is she also scared of disappointing people or letting others down, perhaps? There’s the impression that her bravado is a mask for an underlying fear.
I’d love to know more!
Must of done something right, if you want more.
Thank you for posting this now. In my WIP my new character struggles not to change despite the pressure from his parents, and the government, and the circumstantial evidence. I have been racking my brain on how to make him change. I make him doubt himself but then rebound and not change. It’s kind of a story about resisting peer pressure. Surely that’s a type of storyline.
Absolutely. There are so many stories that involve your MC “sticking to their guns” in the face of pressure. However, to make your conflict more compelling, it can’t just be his parent and the government forcing him to change; making him do something he doesn’t want to do.
A more interesting twist might be to have it so that changing and acquiescing to these external forces will actually give your character what he wants (be it money, a promotion, the girl) or whatever. So that when he decides NOT to change, he is actually making a big sacrifice in order to preserve something that’s important to him.
Thanks, Martin. I think I have done that. Acquiescing could get his name off the terror watch list. Though his fiancée is a Muslim, she has done nothing wrong, and when he visits her family in Tutkey, he does nothing wrong. Vacations in Turkey are not illegal, so he sticks by her–until someone kills her.
Gabriel sat in class and watch the time tick away. It was going by so fast. At 3:30 he was going to have to fight the school bully. Gabriel just didn’t know what to do. “Should I stay and fight and get my butt kicked, letting everyone know I’m not scared of Bruce. Do I run away with my tail between my legs ducking this bully for the rest of the school year”. Gabriel didn’t know what to do. Standing up to Bruce would change the way people looked at him forever, but does he want to change.
3:30 finally came and the whole school almost was outside on the basketball court waiting to see what happens. Bruce was already out there waiting for Gabriel. Gabriel starts to walk over , as he is walking over he wonder if he can talk bruce out of wanting to fight him.
Everybody gasp for air when they see gabriel walking over. They couldn’t believe their eyes. Gabriel felt like he was walking to his death with every step he took. As he was walking he could hear people whispering. He hears someone say I hope his mother got life insurance for him. Gabriel males it to the middle of the circle that is made by the bodies of the assembly of people that came to see the fight. Before Gabriel had a chance to say anything Bruce punches him in the face. All you could hear was oohs and ahhs from the congregation of people surrounding them. Gabriel stumble back from the punch, he grabbed his nose. When he removed his hand he saw his blood and something snapped in his he. Gabriel charged at Bruce knocking him to the ground and he just started pummeling him with all his might. Bruce was screaming GET HIM OFF ME! GET HIM OFF ME! GET HIM THE HELL OFF ME!!! Nobody moved they couldn’t believe how the tables have changed. Quiet, innocent Gabriel wasn’t so quiet anymore.