There are only Four Male Character Arcs

(As seen on IMDB.com's Hit List)

Screenwriting 101

Something I've been thinking about...

There are only a handful of male character arcs, ones we see repeatedly. I told my theory to the DH and he said "I think they all started with Shakespeare." Or the Greeks, well, that is probably true in one form or another there are historical influences to much of narrative storytelling (see my previous post on Commedia dell'arte) but is neither here nor there for screenwriting because I don't want to obfuscate what is already an incredibly challenging medium, screenwriting, due to its structural demands. I've often regaled colleagues with my at times frustrated feelings about the "craft" of screenwriting: "screenwriting is easy," I say, "just put a gun to your head and shoot."

That's how the structural demands, the forced arc narrative of protags existing in compressed time, sometimes feels ~ like creative suicide.

Being that I'm an irascible writer, I kind of go against the grain sometimes and in other posts have said I abhor the idea that characters must arc -- often great artists come along and don't show us a hacky screenwriting and screenplays but show us real people and they don't change and then we hail their brilliance. (For example, my hometown boys, the Coen Bros The Big Lebowski. Incidentally my favorite moment in Lebowski is when the Dude is asked for ID and flashes his Ralph's card. That and writing out a check for $1.49).

and on that uplifting note, I present my theory on character arcs (these are male, female coming soon) which I will add to and expand with examples and you know, if I think of something else... (the four might suddenly become 5 but will not go beyond "a handful.") :)

Shhhhhh, the secret is out now and this might just make your screenwriting life a little easier. In other words, you won't want to blast your head against the wall as your Act 2 struggles for air...
But don't tell anyone:

1. The Boy Arc (sometimes but not always "Slacker")
This is the guy who is a kid at heart and won't grow up. He is irresponsible, immature, goofy and a lot of fun.
Arc: By the end of the movie, he has grown into a man. This means he's gotten a real job, gotten engaged, or gotten married, and/or possibly taken on the care of a child.
Examples: Adam Sandler in Big Daddy; Seth Rogen Knocked Up (many Apatow comedies) 40 Year Old Virgin; The Hangover (a bunch of guys lose the groom in Vegas for his bachelor party and have to find him before his wedding day.) Tons of films follow variations on this arc: guys being boys and having fun and somehow have to accept responsibility into their life.
Common Genres: Comedies, Romcoms


2. The Workaholic
This is the guy who works all the time at the cost of his family and wife/girlfriend. This is the "clam" equivalent of a dramatic arc: so overdone it's trite. Case in point: Evan Almighty. Horrible. Can this work anymore? Maybe but it would need a fresh spin, but please don't write female characters in your screenplay who can only utter lines like: "but all you care about is your job!" or "you're spending so much time at the office!" Please and puhleeeze.
Arc: By the end of the movie, this character has realized the value of family, relationships and gee... I guess people matter.
(Jim Carrey, Liar Liar; Adam Sandler Click, Don Draper in Mad Men etc.)
Common Genres: Comedies, family films, RomComs , Dramas

3. The Loner
This is the guy who doesn't need anyone, who probably drinks, and would just as easy punch you in the mug as to look at you. He's the strong, silent, tough type. In Westerns, this guy doesn't arc. He's usually bitter and emotionally cut off/distant/remote.
Arc: by the end, he's moved an inch but for him is a mountain. He's cared about someone besides himself.
Bogey in Casablanca. Jack Nicholson in As Good as it Gets.
Common Genres: Dramas, Dramedies

4. The Damaged/Wounded
This guy has a trauma in his past he needs to heal from. Usually a loss of a loved one or something he did, that he can't reconcile and feels guilty about. Something in his past which needs to be redeemed. (I blog about "redemptive arcs" and Die Hard vs. Lethal Weapon here.)
Arc: By the end of the movie, he's exorcised his demons and healed the wounds of his past.
Gibson/Riggs in Lethal Weapon, Willis in Die Hard, Jack in 24
Common Genres: Action, Drama.

If there were a #5: Buddy Films (male RomComs)
Note: most of the male arcs are about commitment-phobic men.

I love films when the arc does not feel forced or contrived. That's the challenge we writers face. We want to provide the most bang for the buck and have the aud and readers experience and emotional journey... but not a hacky-forced one.

For female characters, I need to work it out but it would be something like this:

1. The pregnant woman who must make a decision about motherhood.

2. The career woman who must make a decision about motherhood.

3. The uptight, high-strung woman who is out of her element and must learn to relax.

4. The laid back/quirky woman who is out of her element and must help the men around her to relax.

5. The girl who must get her life together and let go of the man who is not good for her, a la Bridget Jones and Winslet in The Holiday.

Note: almost all the female arcs involve finding love.