What is the difference between want vs need in a character? And why is it important? In order to answer these questions we need to delve a little deeper into the developmental arc of the character, once more.
The character arc, we are reminded, describes the path that a character takes from a state of incompetence and moral ignorance, to that of excellence and moral superiority. The arc is intimately tied to the plot, since plot is a tapestry woven out of characters interacting with one another.
Practical and moral superiority, however, can only be achieved by passing some difficult test. It stands to reason, therefore, that a state of true knowledge can only be achieved late in the story—deep into the character arc.
One way for a character to prove that she is making progress is for her to acknowledge that her want, her stated reason for pursuing the goal, is not necessarily her need, at least not on its own. She first has to discover her true motivation and begin healing past wounds, correct existing flaws, in order to unleash her inner strength. It’s a moment of self-revelation that spurs growth.
“A character’s want is established early in the story and stems from a false motivation for pursuing a goal. The character’s need, by contrast, stems from a later realisation of a wound or flaw that has to be healed in order to achieve practical and moral efficacy in the world.”
In The Nostalgia of Time Travel, this moment occurs when Benjamin Vlahos realises the truth about his parents, allowing him to begin healing the wound that has kept him a prisoner of an intractable mathematical problem for thirty years.
In Unforgiven the moment of self-revelation occurs when Ned Logan realises that he can’t bring himself to kill one of the cowboys who reportedly cut up a prostitute. Although a secondary character, he does act as a foil to William Munny, the protagonist of the story. Munny, who lacks a character arc, remaining largely static, does not hesitate to take the rifle from him and shoot one of the men in cold blood. Ned’s want for a monetary reward, however, has been replaced by his realisation of his true need—to live a peaceful life back at his raunch with his Indian companion.
A character’s want being replaced by his need, then, is a truly transformative moment and usually occurs deep into the story. It represents the true start of a characters healing process.
Want vs need lie on opposite sides of a character’s developmental arc. They represent the growth from ignorance to knowledge.