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such a way that I clearly saw a super easy way

to apply inner journeys to my stories.

While the workshop was about romance specifically, the pieces of Hague’s inner

conflict really work for any character journey. He calls the overall arc the “journey

from living in fear to living courageously.” To put it in more familiar terms, the

character arc: the growth the protagonist undergoes over the c ourse of the

story.

This is a biggie because we all know our characters should grow, and often even

know what that growth should be. Selfish to giving, shy to outgoing, distrustful to

trusting. But taking that general growth theme and making it part of the story?

Having it actually help drive the plot? That’s a lot harder, and it's not always clear

how we should approach it. Does it need its own subplot? Is it something that

drives the story at all or is it just emotional internalization? Things just got a lot

easier.

Let's take a peek at Hauge's basic inner conflict arc:

Longing or Need: The thing the character longs for or needs in the story.

Hague describes the longing as the desire the character is aware of, wishes for,

and could change if they ac tually acted, but they never do. The need is the

thing that will make their life better, but they don’t know they need it yet. They

can’t identify what’s “missing” though they know something is and that makes

them unhappy.

If this doesn’t say “inner goal” I don’t know what does. Your protagonist will have

a clear exterior goal (plot), but their dream, their wish, the thing that will savethem if they only realized it, is the interior goal. The longing or the need.

(More on goals here)

Wound: A past wound or hurt that is a current unhealed source of pain.

Can you say backstory? Something bad happened in the protagonist’s past that

affected them so profoundly it shaped them as a person, and still influences their

decisions and actions today. Talk about character motivation.

Brainstorming

Story Development and

Theme

Character Development

Structure and Outlining

Plotting

Goals, Conflict ,

Tension, and Stakes

Setting

World BuildingGenre

Word Count

Series and Trilogies

Writing Your Novel

Voice and Style

Dialog and

Internalization

Point of View (POV)

Description

PacingForeshadowing

Flashbacks

Tone and Mood

Common Writing

Problems

Show vs. Tell

Backstory

Infodumps

Hooks

Lack of ConflictLack of Action

Lack of Goals

Lack of Tension

Lack of Motivation

Lack of Stakes

Stalled Stories

Editing Your Novel

First Drafts

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http://blog.janicehardy.com/2008/02/story-development-and-theme.html

http://blog.janicehardy.com/2008/02/character-development.html

http://blog.janicehardy.com/2008/02/structure-and-outlining.html

http://blog.janicehardy.com/2008/02/plotting.html

http://blog.janicehardy.com/2008/02/goals-conflict-tension-stakes.html

http://blog.janicehardy.com/2008/02/setting.html

http://blog.janicehardy.com/2008/02/world-building.html

http://blog.janicehardy.com/2008/02/genre.html

http://blog.janicehardy.com/2008/02/word-count.html

http://blog.janicehardy.com/2008/02/series-and-trilogies.html

http://blog.janicehardy.com/2008/02/voice-and-style.html

http://blog.janicehardy.com/2008/02/dialog-and-internalization.html

http://blog.janicehardy.com/2008/02/point-of-view-pov.html

http://blog.janicehardy.com/2008/02/description.html

http://blog.janicehardy.com/2008/02/pacing.html

http://blog.janicehardy.com/2008/02/foreshadowing.html

http://blog.janicehardy.com/2008/02/flashbacks.html

http://blog.janicehardy.com/2008/02/tone-and-mood.html

http://blog.janicehardy.com/2008/02/show-vs-tell.html

http://blog.janicehardy.com/2008/02/backstory.html

http://blog.janicehardy.com/2008/02/infodumps.html

http://blog.janicehardy.com/2008/02/hooks.html

http://blog.janicehardy.com/2008/02/lack-of-conflict.html

http://blog.janicehardy.com/2008/02/lack-of-action.html

http://blog.janicehardy.com/2008/02/lack-of-goals.html

http://blog.janicehardy.com/2008/02/lack-of-tension.html

http://blog.janicehardy.com/2008/02/lack-of-motivation.html

http://blog.janicehardy.com/2008/02/lack-of-stakes.html

http://blog.janicehardy.com/2008/02/stalled-stories.html

http://blog.janicehardy.com/2008/02/first-drafts.html

http://blog.janicehardy.com/2008/02/revision-and-editing.html




The wound might be some deep dark secret, or it can be how the character grew

up. It changed them, and had this not happened, they would have become a

different person. This is often the thing you want to explain at the start of a

story so the reader “gets it.” (but trust me, don’t do it).

(More on backstory here)

Belief: What the character believes due to the wound. How it shapes theirworldview.

Now we’re talking serious point of view filters. Whatever happened to your

protagonist, the thing that shaped them, was so profound it created an entire

belief system for them. This is the filter through which the protagonist sees the

world. Their past experience (the wound) colors how they view their current life.

They’ll make decisions based on or influenced by this belief.

Hague used Shrek as an example. Shrek grew up as “a big scary ogre” and

everyone ran away. So in his mind (his belief), he’s nothing but a big scary ogre

and unworthy of love. He expects people to run from him. He expects people to

hate him for who he is (or thinks he is). He learned early on that people run from

him, and this has shaped who he is and how he interacts with the people and

world around him. But as we learn later in the movie, this isn’t true.

(More on backgrounding your world through POV here)

Fear: What terrifies the character emotionally; some version of

experiencing that wound pain again.

This is another way of saying “stakes.” This is the hard part in many innerconflicts because it’s not always clear what’s at stake. This format helps you

figure out what the protagonist is afraid of experiencing again. They’ll do anything

to prevent that.

Shrek is afraid of rejection, so he’ll isolate himself and chase people away before

they have a chance to reject him. Being rejected by someone who matters to him

is his fear. What’s at stake is him opening himself up and having people run away

again, proving that he is truly a big scary ogre unworthy of love. What’s at stake

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http://blog.janicehardy.com/2008/02/revision-and-editing.html

http://blog.janicehardy.com/2008/02/word-choice.html

http://blog.janicehardy.com/2008/02/trimming-words.html

http://blog.janicehardy.com/2008/02/critiques-and-feedback.html

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is proving the fear is true. This works especially well for inner conflict because

the risk is typically emotional.

(More on stakes here)

Identity: The false self the character presents to the world. The emotional

armor that protects from the fear, created by the belief, that came from the

wound.

This is where it gets fun. A character’s identify is what they want everyone tosee. (the ogre). It's the wall they’ve built to keep people from seeing the real

them, the person who was hurt so long ago and still feels that pain. How they

show themselves to the world.

This is how your character acts and interacts with others. This is who they’re

going to be at the start of the story. This is the person that needs changing,

because this person is based on lies, on that wound and belief system. It’s not a

“real” person even though the character has spent a lifetime making them real.

But this fake persona, this identity, is what’s making them miserable. It’s the

starting line for the emotional character growth and the beginning of the

character arc.

Essence: What lies under all the emotional armor. The real self.

And here’s the finish line for that character arc. This is the person the

character truly is or wants to be. They discover who they are over the course of

the story by what they experience. By the end of the story, they make a

choice/realize/come to accept this and act in a way that allows them to win.

(The acceptance of the essence is often what allows them to figure out the plot

piece they need to win in the climax, so this is closely linked to the plot arc)

So how do you take this and apply it to your plot?

After you’ve figured out all the pieces to this inner journey, you can look at your

plot and see where you can push the character’s buttons. Whatever the fear is,

make things happen that force that character to face and experience that fear.

Make that fear the thing they need to overcome to succeed in the external plot.

Look for ways in which acting from the character’s essence (who they really are

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or want to be) allows them to win, while acting from their identity (the false

persona) makes them lose.

Since you’ll want to establish that fear and identity (the starting point for the

character growth arc), at some point in the beginning of the story you’ll show an

example of them getting an opportunity to face that fear, but running from that

fear instead. Set up the status quo, and introduce that longing or need. (And no,

you don’t explain how they got the wound, you just show the affec ts of that

wound and fear. Show the belief by how they live)

Since they’ll need several steps to show their growth, show examples of them

failing (by acting from their identity due to fear of the wound) and then gradually

winning (by acting from their essence and facing that fear).

Since overcoming that fear is what allows the protagonist to make the switch

from living in fear (where they hide behind that identity to avoid the wound) to

living courageously (where they live in their essence and be who they really are),

then at the climax that fear is going to be present in some way.

Major plot turning points are great moments to layer in the conflict by having the

plot decisions conflict/hinge on something that also forces that character to

grow. To summarize:

Inciting event (first failure establish identity)

Act one climax (second failure, a hint of the essence is revealed)

Mid-point reversal (first attempt to live in the essence, doesn’t go well,

but the essence is seen and realized)

Act two climax (fear of failure makes protagonist run from their essenceinstead trying to embrace it like they did at the mid-point)

Climax (protagonist digs deep down, embraces their essence, and wins)

Character growth arc, inner journey, interior conflict, all overlaid on the plot arc

and exterior conflict. While you don’t have to stick to this basic structure, it is an

easy (and proven) way to see how the inner conflict and character growth can

aid with plotting and increasing your tension and conflict for the entire story.

If you want more, Jami Gold has done two great posts inspired by the same

Gra t e rattention

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Labels: character arcs, conflict, inner conflict

workshop:

Michael Hauge’s Workshop: Are These Characters the PerfectMatch?

Michael Hauge’s Workshop: An Antidote to “Love at FirstSight”

How do you handle character arcs and inner conflict?

Janice Hardy is the founder of Fiction University, and the

author of the teen fantasy trilogy The Healing Wars,

where she tapped into her own dark side to create a world

where healing was dangerous, and those with the best

intentions often made the worst choices. Her novels

include The Shifter , Blue Fire, and Darkfall from

Balzer+Bray/Harper Collins. The first book in her

Foundations of Fiction series, Planning Your Novel: Ideas

and Structure is out now. She is also a monthly

contributor at Pub(lishing) Crawl.

Website | Facebook | Twitter | Goodreads | Amazon |

Barnes & Noble | Indie Bound

+5 Recommend this on Google

28 comments:

Jami Gold Aug 20, 2012, 3:17:00 PM

Great post! I love how much you were able to get out of his workshop even

though you're not a romance writer. :)

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That's a s ign of great teaching, I think!

This is brilliant:

"[A]t some point in the beginning of the story you’ll show an example of them

getting an opportunity to face that fear, but running from that fear instead. Set

up the status quo, and introduce that longing or need."

This idea will fit in great w ith the pos t I do tomorrow too. Yay! Very cool! :)

Reply

Miranda Aug 20, 2012, 3:33:00 PM

Thanks, Janice! I've bookmarked this post so I can come back over and over - I

think it will be very he lpful for both plotting and character development. And I

love the fact that the instructor used Shrek as an example - it's so easy to

understand that way.

Reply

Natalie Aguirre Aug 20, 2012, 3:49:00 PM

Great tips on character arc Janice. You make me feel like I was a t the

workshop. I love the Shrek example. It makes it so much eas ier to see because

I know the character.

Reply

sarah Aug 20, 2012, 6:17:00 PM

This is great s tuff - such as I always expect to find here. Real and sens ible

advice.

Reply

Raewyn Hewitt Aug 20, 2012, 6:21:00 PM

Thanks again Janice - I always get something great out o f your blog.

Right now I've realised I haven't gone deep enough with my protagonist, I've

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been relying on a recent tragedy to drive him through the story, when I've just

realised there are deeper drivers at work before the tragedy. Ah must run off

and work on it now!!!

Reply

Jordan McCollum Aug 20, 2012, 6:37:00 PM

Thanks, Janice! I was really interested in Jami's post on this recently (so much

so that I ran out to get Michael's book, but my library only had a 20-year-oldcopy, so I'm not sure this is in there). I'm really glad to dig into this more!

Reply

Kreann Aug 20, 2012, 6:51:00 PM

What an incredible post, Janice! I can't believe how much it helped clear my

mind for my WIP. Absolutely amazing. Thanks so much for sharing!

Reply

Elizabeth Poole Aug 20, 2012, 7:02:00 PM

Amazing post! I love how you connected the external journey with the inner

one, and gave us sign posts to boot. I am going to apply this to my outline,

right now.

You bring up an interesting point about Shrek. I thought the sequel was good,

and it's probably because Shrek has to reaffirm his essence to Fiona's parents.

Fiona doesn't think he's a big scary ogre, but her dad does.

The third movie felt a little flat for me, and I think the lack of this bit was why.

Thanks again for the great post!

Reply

Julie Musil Aug 20, 2012, 8:36:00 PM


















df d mi b PRO i Are you a developer? Try out the HTML to PDF API

Wow, what great information! Thanks. Now I'm off to check out Jami's posts.

Hope it's ok w ith you, but I planned on linking to a couple of your posts

tomorrow :)

Reply

Jennifer Fischetto Aug 21, 2012, 12:27:00 PM

This is the most helpful information on creating an emotional arc I've ever read.Thank you for posting. :)

Reply

Amelia Loken Aug 21, 2012, 10:57:00 PM

Love, love, love this post! Great way of seeing the story arc. Thanks so much

for sharing!

Reply

Janice Hardy Aug 22, 2012, 3:24:00 PM

Jami, I'm in awe of your Hague-inspired posts. I read them and wonder what I

missed!

Miranda, I love movie examples for that reason. Odds are folks have seen it

and can understand the example.

Natalie, totally. If you ever get a chance to hear him, I highly recommend it. Hewas awesome.

Sarah, aw thanks! I aim to please :)

Raewyn, cool! Glad this sparked ideas for you, too.

Jordan, she did great posts on this workshop. I've added Hague's books to my

to-buy piles as well. I love the way he ta lks about writing.













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Kreann, most welcome!

Elizabeth, I felt the same way about the movies. Two and three were, eh. Four

went back to the original concept and it worked very well. They did a nice flip

from the first movie.

Julie, absolutely, thanks for sharing :)

Jennifer, most welcome! I thought the way he broke it down was so clear and

useable.Reply

Stina Lindenblatt Aug 22, 2012, 11:02:00 PM

I've attended Michael six hour workshop. This is a great summary of it, Janice.

:D

Reply

Jenna Rutland Aug 24, 2012, 12:30:00 PM

Janice, I attended that workshop too, but I have to say your summary is

awesome. I scribbled notes so fast in his workshop that I'm still trying to

decifer them. You've presented his material in a very concise, easy to

understand way. Thank you so very much for sharing with us!

Reply

Janice Hardy Sep 6, 2012, 7:47:00 AM

Stina, nice. I'd love to do that some day. He was great.

Jenna, thanks! I took a lot of notes on that part s ince it helped me fix

something in my current WIP. Glad I did!

Reply













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Veronica Sicoe Feb 25, 2013, 7:21:00 AM

Great post, as always. You have a true gift for explaining complex techniques.

:)

This is a very good roadmap to create character a rcs and showcase inner

conflict and change. It's not the only type of map, though. The inciting incident

can be an extraordinary circumstance that forces the character to act from her

essence, and be surprised by it (it's not a failure, but unexpected success).

Then the old fears come raining on her parade and gradually plunge her into a

personality crisis. The only way to get out of it is by facing the wound dead on(at the climax when the plot explodes), and this time assuming control of her

emotions and actions, thus rebuilding her personality. At least that's what I've

done in my WIP. ;)

Reply

Janice Hardy Feb 26, 2013, 9:02:00 AM

Veronica, excellent addition, thanks! I like that model a lot, actually. Adding it

to my template files :)

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sinistrainksteyne Oct 11, 2013, 6:09:00 PM

I've never seen character and narrative linked so clearly before.

Thanks!

Reply

Janice Hardy Oct 23, 2013, 7:46:00 AM

Thanks! Michael Hague really makes it look easy. If you ever get a

chance to attend one of his workshops, do it. They're fantastic.









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ty der Nov 16, 2013, 7:21:00 AM

This is the deep shit; i'v been loooking a looot on understanding the chracter

arc and this is it; thanks redhead (it's a compliment you're beautiful

Reply

Janice Hardy Dec 3, 2013, 3:53:00 PM

Thanks so much! Hague is amazing and he makes this all so clear.

Blondie B. Good Nov 19, 2013, 3:15:00 AM

One o f my favorite posts so far! I can see a little clearer what my character arc

will be now.Thanks again, very useful, as usual!

Reply

Janice Hardy Dec 3, 2013, 3:54:00 PM

Most welcome, glad it was helpful.

generalp2 Dec 20, 2013, 1:42:00 AM

Nicely done. Just what I was struggling on...

Chuck Patton

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Enter your comment...

Janice Hardy Dec 20, 2013, 7:46:00 AM

Thanks! Glad you and the post found each other :)

Raquel Byrnes Mar 19, 2014, 12:59:00 PM

What a wonderful post. I found it most helpful when you defined need from

longing. Well done.

Reply

Janice Hardy Mar 19, 2014, 1:36:00 PM

Happy to help. Looking at those two as separate things also madethis click for me when I sat in on Hague's workshop years ago. Such a

clear split between the inner and outer conflicts.

Aida Baker Apr 28, 2014, 6:29:00 AM

I've never thought about inner conflict in that way when writing about

characters. I guess we do it naturally but you've put everything in discrete,

measurable actions that make each character easier to analyze.

http://jtrader.hubpages.com/hub/What-is-Fan-Fiction-and-Why-Do-People-

Write-Fan-Fiction

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