IN previous articles I talked about the need to synchronise your hero’s actions against his character arc. I emphasised that the quality of his actions depends on his state of moral, spiritual, and psychological development. The hero can not defeat the antagonist until he has achieved maturity through pain and suffering – through trial and error.
But at which point, and how often, does the writer interrogate his hero?
The answer is that the hero should be examined, at least, at the pivotal points in the story – the introduction to the ordinary world, the inciting incident, the first turning point, the midpoint, the second turning point, the climax, and the resolution.
Indeed, the introduction to the ordinary world and the resolution present the sharpest points of contrast in the hero’s growth, being at the polar ends of his character arc. They help to set the scale for calibrating his growth.
It is now easier to position actions and events between the two extremities on a scale of lesser or greater effectiveness. The second turning point, for example, contains some growth in wisdom, certainly more than at the first turning point, but less so than at the climax, which delivers the maximum growth – if the hero is to defeat the antagonist.
In Edge of Tomorrow‘s endlessly cycling reality, Major Cage, who is committed to defeating an alien enemy that can see the future, is repeatedly killed, triggering a reset in his life. It is only when he lets go of his fear of losing the woman he loves, and decides to ultimately sacrifice himself, that he is able to blindside the enemy. That moment is the climax of the story and represents Cage’s full maturation.
In my own novel, The Level, the protagonist perceives the nature of his captivity only when he embraces his true identity and uses it to defeat the antagonist.
In both cases the culmination of the inner and outer journeys create the climax of the story.
Calibrate inner and outer actions along the nodal points in your story to keep them in sync.