The Ultimate Writing Glossary (Story Structure, Character Arcs, and More)
Over the years, I’ve developed a set of terms that have become foundational to how I teach storytelling. A few I’ve coined myself, others I’ve adapted, and some I’ve simply emphasized so frequently they’ve become closely associated with my approach to character arcs, story structure, and theme. Whether you’ve followed my work through this blog or my books and courses, chances are you’ve come across many of these ideas and maybe even adopted them into your own writing process.
Back in the early days of Helping Writers Become Authors, I published a crowd-sourced glossary of general writing terms. That original post brought in a wealth of contributions and turned into a collaborative resource I still point writers toward to this day. But as my own language and frameworks have evolved over the years, I realized it was time for a new version that reflects the specific tools and concepts I teach most often and rely on in my own work.
In the sections below, you’ll find a curated glossary of the core storytelling terms I use throughout my teachings. These include concepts like the Lie the Character Believes, the Ghost, the Flat Arc, and many others you’ve likely seen referenced in my materials. Rather than alphabetizing them, I’ve grouped them in a rough chronology so that if you read them straight through, they build to express the big picture of my writing philosophy.
Whether you’re brand new to writing or simply looking for clarity on some of the terms I throw around regularly, I hope this glossary serves as a helpful reference and maybe even a little inspiration! If you’re seeking the definition of a writing term you don’t see here, be sure to check out the original glossary of writing terms, which contains many more helpful descriptions.
In This Article:
- Ideation & Outlining
- Plot & Story Structure
- Scene Structure
- Character Arc & Theme
- Character Archetypes
The Ultimate Writing Glossary of K.M. Weiland’s Terms
Ideation & Outlining
Outlining
Outlining is the act of crafting a guide to the general structure, arc, and meaning of a story—usually before writing the first draft. It is sometimes used synonymously with the idea of “plotting” as opposed to “writing by seat of your pants” (i.e., “pantsing”) or “discovery writing.” My approach to the outlining process is less of a rigid or skeletal plot structure and more of a free-flowing brainstorming “out loud” process in which the shape of the story is thoroughly explored before shifting into the intricacies of writing the narrative in the first draft.
For further study:
- Book: Outlining Your Novel
- Book: Outlining Your Novel Workbook
- How to Outline Your Novel
- What Should Your Book Outline Look Like? [Free Download]
Dreamzoning
Dreamzoning is “daydreaming on steroids,” a form of intense, purposeful daydreaming used to generate story ideas. Unlike casual musing, dreamzoning uses focused imagination to actively visualize scenes, characters, and scenarios. It’s a fun, powerful technique that allows your subconscious creativity to freely explore possibilities. By setting aside time to “zone out” and vividly imagine story moments, you can discover inspiring concepts and solutions that might not surface through analytical brainstorming alone.
For further study:
- Guided Dreamzoning Sessions: Archetypal Character Guided Meditations
- What Is Dreamzoning? (7 Steps to Finding New Story Ideas)
- How Meditation Can Inspire Your Next Story
Plot & Story Structure
For further study:
- Book: Structuring Your Novel
- Workbook: Structuring Your Novel Workbook
- Book: Next Level Plot Structure
Hook
The Hook is the story’s opening question or curiosity that “hooks” readers’ attention from page one. The Hook sets the tone and promise of the story, ensuring the audience is invested from the very beginning. It is also the first structural beat in the story—the first “domino” in the line of dominoes that form the plot.
For further study:
- The Secrets of Story Structure: The Hook
- How to Drive Your Readers Wild With Hints and Story Hooks—Without Frustrating Them
- Think You Wrote a Great Hook for Your Book’s Beginning? Find Out Why It May Not Be Enough
Inciting Event
The Inciting Event is the critical turning point early in the story (usually halfway through the First Act or around the 12% mark of the narrative) in which the protagonist first encounters the main conflict. It’s the Call to Adventure (see below) that upsets normal life and thrusts the character toward the story’s central challenge. This is the catalyst that first introduces the protagonist to the main plot dynamic. The protagonist may not fully engage with the conflict yet, but the Inciting Event introduces the problem or opportunity that will eventually require a committed response. The Inciting Event is a pivotal turning point that sets up everything to come.
For further study:
- The Secrets of Story Structure: The Inciting Event
- The Crucial Link Between Your Story’s Inciting Event and Climactic Moment
- Your Book’s Inciting Event: It’s Not What You Think It Is
Call to Adventure
If you divide the Inciting Event into two halves (as all major structural beats are divided), the Call to Adventure represents the first half, in which the protagonist is presented with a new opportunity, challenge, or “adventure.” The Call to Adventure symbolically asks the protagonist to step out of the Normal World and enter the fray of the plot. The Call to Adventure establishes the stakes and promise of the journey to come, even if the protagonist doesn’t immediately answer it.
For further study:
Refusal of the Call
The Refusal of the Call is the closing half of the Inciting Event, in which the protagonist reacts with hesitation or outright refusal to the Call to Adventure. It highlights reluctance, fear, or attachments that make the protagonist initially resistant to engaging with the main conflict. For example, the protagonist might doubt personal ability, fear the unknown, or feel obligated to remain in the Normal World. This moment of refusal adds realism and stakes by showing what the character stands to lose and that the coming conflict can’t be taken lightly.
First Plot Point
The First Plot Point is the major turning point that ends the First Act (around the 25% mark) and propels the story into the Second Act. It is often called a Threshold or Door of No Return because it thrusts the protagonist into a new and irrevocable direction. After this plot point, the protagonist enters the Adventure World or main conflict in the Second Act, leaving the Normal World behind. The stakes are raised, the antagonist’s presence becomes clear, and the protagonist can no longer go back to life as it was before.
For further study:
- The Secrets of Story Structure: The First Plot Point
- Creating Stunning Character Arcs: The First Plot Point
- The Link Between Your Story’s First Plot Point and Third Plot Point
Point of No Return
This beat represents the first half of the First Plot Point. It refers to the moment when the protagonist becomes irrevocably committed to the conflict. From here, there is no going back to the old life. This is where the protagonist metaphorically crosses a threshold into the main story world or conflict (either entering a new setting or seeing the old setting changed in some significant way). The Point of No Return ensures the protagonist can’t simply quit the conflict. Circumstances or decisions have now locked the character into pursuing the plot goal and confronting the antagonistic force.
For further study:
Key Event
Representing the second half of the First Plot Point, the Key Event is when the protagonist is fully drawn into the story’s main conflict. This is where the protagonist fully “accepts the Call” and cannot turn back. Usually, it is a proactive decision on the character’s part in response to the sometimes involuntary events at the Point of No Return.
For further study:
First Pinch Point
The First Pinch Point is an important structural turning point occurring in the first half of the Second Act (around the 37% mark). It emphasizes the threat of the antagonistic force, shows what is at stake for the protagonist in the conflict, and introduces important new clues about the nature of the conflict.
For further study:
- What Are Pinch Points? And How Can They Make Your Book Easier to Write?
- The Link Between Your Story’s Pinch Points
Midpoint (Second Plot Point)
The Midpoint is the Second Plot Point in a story’s structure. It occurs in the middle of the book, halfway through the Second Act, at the 50% mark. This is where the protagonist experiences a Moment of Truth, which allows a better understanding of the antagonistic force and the external conflict, as well as the internal conflict driving the character arc. It signals a shift from the reactive phase of the first half into the active phase of the second half.
For further study:
- The Secrets of Story Structure: The Midpoint
- Creating Stunning Character Arcs: The Midpoint
- The Midpoint as the Swivel Point of Your Story’s Structure
Moment of Truth
As the first of the two beats that make up the Midpoint, the Moment of Truth is a pivotal scene in which the protagonist is confronted by a revealing insight or reality that challenges previous beliefs or the Lie the Character Believes. Here, the protagonist witnesses the story’s thematic Truth. For the first time, the character sees things as they truly are, even if only briefly or incompletely. This means the character now understands something fundamental that will trigger a change in tactics or attitude. The Moment of Truth serves as the pivot of the character’s inner arc. From here on, the character will begin to act on this new knowledge. The Moment of Truth raises the emotional stakes by highlighting what’s at stake for the character internally.
For further study:
Plot Revelation
Whereas the Moment of Truth focuses on a character-based or thematic insight, the Plot Revelation (as the second half of the Midpoint) emphasizes information that dramatically alters the plot’s trajectory. The two revelations are intrinsically related, with one usually inspiring the other. In the Plot Revelation, the protagonist often discovers something that reframes the conflict (such as the villain’s true plan, a hidden identity, a secret weakness, or any game-changing information). This revelation empowers or challenges the protagonist while escalating the stakes by making the conflict more personal or urgent. From here, the protagonist can take more informed, decisive actions.
For further study:
- How the Perfect Midpoint Moves Your Protagonist From Reaction to Action
- The Two Halves of the Midpoint
Second Pinch Point
The Second Pinch Point is an important structural turning point that occurs in the second half of the Second Act at the 62% mark. Like the First Pinch Point, it emphasizes the threat of the antagonistic force, shows what is at stake for the protagonist in the conflict, and introduces important new clues about the nature of the conflict.
For further study:
- What Are Pinch Points? And How Can They Make Your Book Easier to Write?
- The Link Between Your Story’s Pinch Points
Third Plot Point
The Third Plot Point occurs at the 75% mark, marking the end of the Second Act and the beginning of the Third Act. This is where the protagonist experiences a Low Moment of defeat and is faced with a choice about whether the conflict so far has been worth the effort. This beat proves whether the character will embrace or reject the Lie the Character Believes. From here, the character will enter the final confrontation with the antagonistic force.
For further study:
- Secrets of Story Structure: The Third Plot Point
- Creating Stunning Character Arcs: The Third Plot Point
- The Link Between Your Story’s First Plot Point and Third Plot Point
False Victory
As the first half of the Third Plot Point, the False Victory is where the protagonist appears to succeed, only to discover this “victory” is misleading or short-lived. The False Victory highlights both how far the protagonist has come in the character arc and how much the Lie the Character Believes is still impeding progress and evolution. This beat is crucial because it creates a final crucible to show the character how to fully grow and gain the perspectives and skills necessary to succeed in the plot.
For further study:
Low Moment
Often referred to as a “Dark Night of the Soul,” the Low Moment represents the second half of the Third Plot Point. This is where the protagonist hits rock bottom in both the inner and outer conflicts. The protagonist is confronted with the consequences of failure after the False Victory. This is a moment of crisis in which the character faces the Lie s/he has believed throughout the story. This beat sets up the revelation or resolve required to move into the Climax. Here, the protagonist will realize something important (often finally rejecting the Lie or embracing the Truth) and feels empowered to try again.
Climax
This is the finale of the story, featuring the final decisive confrontation between the protagonist and the antagonistic force, determining whether or not the protagonist will succeed or fail in gaining the main plot goal. The Climax begins in a turning point halfway into the Third Act, starting around the 88% mark.
For further study:
- Secrets of Story Structure: The Climax
- How to Structure a Whammy of a Climax
- Creating Stunning Character Arcs: The Climax
Climactic Moment
This is the definitive moment in which the overall goal is reached or not reached. This is the moment when the protagonist defeats the antagonist or vice versa, thus ending the plot conflict.
For further study:
- The Crucial Link Between Your Story’s Inciting Event and Climactic Moment
- Want Readers to Adore Your Book? Learn How to Ace Your Climactic Moment
Sacrifice
This first beat of the Climactic Moment represents the culmination of everything the protagonist has learned so far in the story. In order to reach for the plot goal, the character will have to prove willing to make some sort of sacrifice, even if it is just the death of the “old self” who held to the Lie the Character Believed throughout the story.
For further study:
Success/Failure
The second half of the Climactic Moment shows whether or not the character’s sacrifice was sufficient. The character will end the plot conflict with either a definitive success or a definitive failure.
For further study:
Resolution
This is the final section of the story—usually the last two to three scenes in the final chapter. This is where any final loose ends will be resolved after the main conflict has already been decided.
For further study:
Normal World
This is the initial setting in the story, meant to illustrate the characters’ lives before they meet with the story’s main conflict. Symbolically, it represents the First Act. The Normal World may be destructive to the protagonist (in which case, the protagonist must learn to move away from it and live without it), or it may be healthy (in which case, the protagonist will defend it). The Normal World may be a definitive setting, which will change at the beginning of the Second Act. However, it may also be more metaphorical, in which case the physical setting will not change, but rather the conflict will alter the setting around the protagonist.
For further reading:
- Understanding the Normal World of a Story’s First Act
- Creating Stunning Character Arcs: The Normal World
- 5 Misconceptions About Your Story’s Normal World
Adventure World
Symbolically, the Adventure World represents the Second Act, in which the character enters the “adventure” of the story’s main conflict. This could be shown as a literal adventure, but symbolically indicates any conflict that creates the plot in which the character is engaged. This could be a romantic relationship, a murder investigation, or a family secret. It can be shown as an entirely new setting that is different from that of the Normal World in the First Act, but it may also be indicated symbolically through conflict-induced alterations in the original setting or the character’s state of being (i.e., falling in love).
For further study:
Underworld
The Underworld represents the Third Act, in which the character experiences increased pressure to synthesize the lessons learned in the Adventure World in order to favorably resolve the plot conflict. The symbolism indicates the psychological transformation required of a character in order to change enough that what was impossible at the beginning of the story (reaching the plot goal) may now come into reach.
For further study:
New Normal World
The New Normal World represents the Resolution at the end of the story, in which the changes wrought in and by the protagonist stand in contrast to the Normal World of the First Act.
For further study:
Chiastic or Ring Structure
Chiastic structure (also called “ring” structure) indicates a structural approach in which the two halves of the plot mirror or reference each other in some way. Although chiasmus can be applied intentionally, it is naturally inherent within the classic plot structure outlined above, in which beats such as the Inciting Event and Climactic Moment form natural pairs that mirror or resolve each other in some way.
For further study:
- Book: Next Level Plot Structure
- How to Strengthen Your Story With Chiastic (or Ring) Story Structure
Structural Timing
Structural timing indicates the ideal placement of turning points or plot points throughout the story. The beats mentioned above (i.e., Inciting Event, First Plot Point, First Pinch Point, Midpoint, Second Pinch Point, Third Plot Point, Climax) divide the story into eight equal parts. However, structural timing need not be exact. It is predominately a question of pacing. If the pacing works, so does the timing.
For further study:
- Quick Guide to Timing Plot Points Within Your Story’s Structure
- How Perfect Does Your Story’s Structural Timing Have to Be?
Conflict
Conflict is the engine of opposition that presents obstacles to the protagonist, thus creating the plot. The best way to think of conflict is simply as an “obstacle.” It need not be a confrontation between people (although it can be); rather, it is simply whatever opposes the protagonist’s forward movement throughout the plot.
For further study:
- Conflict in Fiction: What It Really Is and Why It’s Important to Plot
- Learn to Write Deep and Rich Story Conflict
- How to Create Meaningful Obstacles Via Conflict
Plot Goal
The plot goal is whatever the protagonist is pursuing that is then interrupted with conflict (i.e., obstacles). Although the goal may be something concrete, it can also influence the story through something as abstract as an intention. From a structural perspective, what is important is simply that the character has reasons to keep moving forward, even if part of that movement is the act of discovering what the character is moving toward.
- What Does Your Character Want? Desire vs. Plot Goal vs. Moral Intention vs. Need
- Your Character’s Three Choices: Character Goal Examples for Writers
- Most Common Writing Mistakes: Characters Who Lack Solid Story Goals
Scene Structure
For further study:
- Book: Structuring Your Novel
- Workbook: Structuring Your Novel Workbook
Scene
In narrative terms, a Scene is a fundamental unit of story in which a character pursues a specific goal in a continuous time and place, encountering conflict that yields an outcome. Structurally, the Scene can be broken into two halves: a scene (the action that happens when a character has a goal, then conflict interferes with that goal, resulting in an outcome) and its sequel (the character reacting to the previous outcome, then facing a dilemma, and finally making a decision that will determine the character’s goal in the next Scene).
For further study:
- How to Structure Scenes in Your Story
- How to Write Interesting Scenes
- 7 Questions You Have About Scenes vs. Chapters
Goal
The goal in a scene is the specific, concrete objective the POV character wants to achieve in that scene. It sets the scene’s purpose. A strong scene goal is pertinent to the plot, meaning it’s a logical step toward the character’s larger plot goal. For instance, in one scene a character’s goal might be “sneak past the guards” and in another “convince my friend to help me.” The scene goal focuses the character’s actions and gives readers a clear expectation of an outcome. The scene goal is what the protagonist (or POV character) is trying to do or get in that moment of the story. The pursuit of that goal then generates conflict when obstacles arise.
For further study:
- Structuring Your Story’s Scenes: Options for Goals in a Scene
- Your Character’s Three Choices: Character Goal Examples for Writers
- What Does Your Character Want? Desire vs. Plot Goal vs. Moral Intention vs. Need
Conflict
Scene conflict is the challenge or opposition the POV character faces while trying to achieve the scene goal. Scene conflict is essentially the obstacle that creates tension in the scene. If the scene goal is what the character wants, then the conflict is why the character can’t immediately have it . Conflict can take many forms: another character with an opposing goal (e.g. a guard actively preventing the protagonist’s escape), environmental difficulties (e.g., a storm, a locked door), internal hesitation, or any combination thereof. The important thing is that the conflict directly correlate to the scene goal.
For further study:
- Structuring Your Story’s Scenes: Options for Conflict in a Scene
- An Easy Way to Notch Up Your Scene Conflict
- Conflict in Fiction: What It Really Is and Why It’s Important to Plot
Outcome/Disaster
The outcome is the result or turning point at the end of a scene’s main action. It answers the question: did the POV character achieve the scene goal or not, and what happens as a result? In order to keep the story moving, the outcome in well-structured scenes typically leans toward a complication or setback. Each scene’s disaster sets up the next scene’s goal. A strong outcome/disaster either denies the character’s goal (“No, they fail”), gives it to them with strings attached (“Yes, but…”), or creates greater unforeseen consequences (“No, and things get worse”). Not every scene must end with a disaster, but even wins should introduce new problems.
For further study:
- Structuring Your Story’s Scenes: Options for Scene Disasters
- A New Way to Think About Scene Structure
“Yes, But…” Disaster
A “yes, but…” disaster is a type of scene outcome in which the protagonist technically achieves the scene goal, but a new complication creates a partial or hollow victory. The character achieves the scene goal only to find it doesn’t solve the problem and/or creates an unforeseen issue. For example: Yes, the detective finds the needed clue, but it implicates a friend as the suspect. This outcome tests the protagonist’s resolve since the character achieves the goal but now must deal with the consequences or the realization that this win isn’t final.
Sequel
The sequel is the second half in scene structure. It represents the phase that follows a scene’s action with an aftermath segment in which the character processes what just happened and formulates the next move. In contrast to the action-oriented scene, a sequel is introspective and transitional. Characters catch their emotional breath, react to the previous outcome/disaster, think through their new dilemma, and decide on a new goal. For example: If a scene was a battle ending in the protagonist’s defeat, the subsequent sequel might show the protagonist’s despair (reaction), consideration of alternatives or what went wrong (dilemma), and then a resolve to train harder or seek help (decision). The sequel provides a realistic emotional continuity (so characters don’t just jump from crisis to crisis without reacting). It allows for character development and thematic reflection and sets up the next scene’s goal in a logical flow.
For further study:
- The Three Building Blocks of the Sequel
- Variations on the Sequel Scene
- 4 Ways to Write Sequel Scenes That Grip Readers
Reaction
The reaction is the first stage of the scene sequel, in which the POV character responds to the outcome of the previous scene. In this phase, the character isn’t yet thinking ahead, but just processing feelings. If the previous scene was a big setback, the reaction might be despair or panic. If it was a success with complications (“yes, but…”), the reaction could be mixed feelings of triumph and worry. Often, reaction is shown through interior monologue or a quiet beat (e.g., after a narrow escape, the character trembles and acknowledges fear). This validates readers’ emotions as they experience the consequences alongside the character. The reaction is usually brief but important, as it humanizes the protagonist. Only after this cathartic beat can the character move on to rationally consider what to do next (the dilemma). Skipping the reaction can make a story feel rushed or the characters unfeeling. Strong reaction segments strengthen pacing, especially after high action or drama.
For further study:
- Structuring Your Story’s Scene: Options for Character Reactions in a Scene Sequel
- Make Your Character Reactions Twice as Interesting
Dilemma
The dilemma is the second stage of the sequel, in which the character, having emotionally reacted, now engages in thinking through options and potential consequences. In this phase, the protagonist faces the problem or choice created by the previous scene’s outcome and asks, “What do I do now?” In the dilemma, the character may weigh pros and cons, consider different plans, or grapple with tough decisions. This stage is inherently reflective and can showcase the character’s values and internal conflict. The dilemma shows the logical thought process that bridges what just happened to what will happen next.
For further reading:
- Structuring Your Story’s Scenes: Options for Dilemmas in a Scene Sequel
- 6 Steps to Create Realistic (and Powerful) Scene Dilemmas
Decision
The decision is the final phase of the sequel. After reacting emotionally and pondering the dilemma, the character now decides what to do next. This decision becomes the seed of the next scene’s goal. The decision prevents the story from stagnating or the character from wallowing in the aftermath of the previous scene’s outcome. Instead, it pushes the narrative onward. The decision is often accompanied by a renewed sense of purpose or change in strategy for the character. It is the bridge between one scene and the next, transitioning the character directly into the next scene’s goal.
For further study:
- Structuring Your Story’s Scenes: Options for Decisions in a Scene Sequel
- 3 Tips for When Your Characters Make Bad Decisions
Character Arc & Theme
For further study:
- Book: Creating Character Arcs
- Workbook: Creating Character Arcs Workbook
- Book: Writing Your Story’s Theme
Lie the Character Believes
The Lie the Character Believes (often just “the Lie”) is a false belief or misconception the protagonist holds at the beginning of the story. The Lie is the central inner flaw in the character’s worldview, which will be challenged by the story’s events. This Lie or limiting perspective could be personal (e.g., “I’m worthless” or “I can’t trust anyone”) or about the world (e.g., “might makes right” or “love equals weakness”). The Lie is what must change in order for the character to grow.
For further study:
- Creating Stunning Character Arcs: The Lie Your Character Believes
- Everything You Need to Know About the Lie the Character Believes
- 2 Different Types of the Lie Your Character Believes
- A New Way to Think About the Lie the Character Believes
Thematic Truth
The thematic Truth (often just “the Truth”) is a comparatively more expansive perspective that stands in opposition to the protagonist’s Lie. It represents the central message underlying the story’s plot and is the lesson or reality the character needs to discover in order to change positively. For instance, if the Lie is “I am unlovable,” the thematic Truth might be “You are worthy of love as you are.” The thematic Truth is not usually stated overtly to the audience, but underlies the character’s journey and the story’s resolution. It is what gives the story meaning beyond the literal events.
For further study:
- Book: Writing Your Story’s Theme
- How the Truth Your Character Believes Defines Your Theme
- How to Use a “Truth Chart” to Figure Out Your Character’s Arc
Thing the Character Wants
The Thing the Character Wants (or “Want”) refers to the character’s external, conscious desire. This is something the character thinks will create happiness or solve problems. Typically fueled by the character’s Lie in some way, the Want is what then creates the more concrete plot goal. For example, if the character’s Want is to be rich, then the plot goal might be to become a successful stock broker. The Thing the Character Wants is not the same as the Thing the Character Needs. The Want is often misguided or insufficient because it is founded on the limited perspective of the Lie (e.g., wanting wealth because the character believes the Lie that “money equals worth”). The Want itself won’t genuinely fulfill the character without addressing the deeper Need/Truth. The interplay of Want vs. Need creates the internal tension that drives a character’s arc. Identifying the Thing the Character Wants helps ensure the external pursuit of the plot is tied to the character’s internal journey.
For further study:
- The Thing Your Character Wants vs. The Thing Your Character Needs
- Creating Your Character’s Inner Conflict: Want vs. Need
- What Does Your Character Want? Desire vs. Plot Goal vs. Moral Intention vs. Need
Thing the Character Needs
The Thing the Character Needs (or “Need”) is the deeper, often unrecognized, Truth the character must achieve in order to be whole or resolve the inner conflict. The Need is what will actually fulfill the character or fix the internal problem, as opposed to what the character thinks will (i.e., the Want). The Need is usually fulfilled by overcoming the Lie and embracing the thematic Truth. The Need is moral or psychological, a lesson the character must learn or a change the character must undergo. The Third Act frequently features a choice between Want and Need. Identifying the Need clarifies the theme: the Need often is the story’s thematic Truth. It ensures the character’s personal transformation (or lack thereof) is meaningful. When the character attains the Need (even if the character doesn’t get the Want), the story is able to deliver a sense of growth and resolution.
For further study:
- The Thing Your Character Wants vs. The Thing Your Character Needs
- Creating Your Character’s Inner Conflict: Want vs. Need
- What Does Your Character Want? Desire vs. Plot Goal vs. Moral Intention vs. Need
Ghost
A character’s Ghost is the traumatic or formative event in the backstory that continues to haunt in the present story. The Ghost (a term I first learned from John Truby) is an old wound that greatly influences the character’s motivations, fears, and the Lie the Character Believes. The Ghost is the baggage the character carries. The Ghost typically isn’t a direct part of the plot conflict, since it happened before the story began, but it drives how the character reacts in the plot. In the structure of a character arc, the Ghost can be thought of as the root cause of the Lie. Understanding the character’s Ghost helps writers craft more authentic character behavior, since it adds context to choices and motivations.
For further study:
- Creating Stunning Character Arcs: Your Character’s Ghost
- What’s the Difference? Your Character’s Ghost vs. Wound vs. Lie vs. Weakness
- The #1 Key to Relatable Characters: Backstory
Impact Character
The Impact Character is a strong catalyst for change in the protagonist, influencing the protagonist’s inner conflict. The Impact Character (a term from the Dramatica system) plays a crucial role in influencing the protagonist’s inner journey by representing an alternative viewpoint—usually, the thematic Truth. The Impact Character challenges the protagonist’s Lie and catalyzes change. Classic examples include mentors, love interests, best friends, or even antagonists with an essential perspective to share with the protagonist. The Impact Character typically embodies the lesson the protagonist needs. The key is that the Impact Character provides the “impact” necessary to jar the protagonist out of complacency. By spurring epiphanies, posing probing questions, or exemplifying a different path, the Impact Character externalizes the story’s theme and makes the protagonist’s internal dilemma invisible through dialogue or interpersonal conflict.
For further study:
- The Impact Character: Why Every Character Arc Needs One
- How to Harness the Dark Side of Your Impact Character
- 4 Ways to Write a Thought-Provoking Mentor Character
Thematic Principle
The thematic principle is the foundational concept or proposition underlying a story’s theme. It is the story’s core thesis or unifying idea. The thematic principle is a concise statement of what the story is about on a thematic level, often encapsulating the conflict between the Lie and the Truth in more universal terms. For example, a thematic principle might be “justice vs. mercy” or “true love is stronger than pride” or “greed leads to self-destruction.” The thematic principle is more specific than a one-word theme (such as “love” or “power”) and more nuanced than a blunt moral. It is the principle that is ultimately proven or disproven by the story’s events. The thematic principle is a story’s central argument boiled down to a single guiding idea. Once the writer knows this, it becomes easier to ensure that subplots, conflicts, and resolutions all reflect this principle to create a cohesive narrative. In essence, the thematic principle is the story’s heart expressed in an idea. It’s not usually stated outright in the text, but by the end, it should be clear in the story’s resolution.
For further study:
- How to Find Your Thematic Principle
- Deepening Your Story’s Theme With the Thematic Square
- The Secret to Writing Strong Themes
Thematic Metaphor
The thematic metaphor is the symbolic “language” a story uses to exemplify its theme via the story’s external plot. It is a way of expressing the story’s theme through imagery, scenarios, or concepts woven into the plot and setting, rather than through direct statement. All stories are, in some way, a thematic metaphor, in that the external conflict is a representation of the story’s deeper inner conflict. In some stories, such as fables or allegories, the symbolic nature of the external plot becomes quite obvious. In more realistic stories, the thematic metaphor may be less abstract. For example, in a story about the destructive nature of obsession, a spreading wildfire might serve as a thematic metaphor for the character’s burning obsession consuming everything. Thematic metaphors can be found in recurring symbols (like seasons, objects, or motifs) or in the story’s premise itself. A classic instance is Moby Dick: the white whale is a literal antagonist but also a thematic metaphor for the unknowable, nature, or God.
For further study:
- How to Make Your Plot a Powerful Thematic Metaphor
- Here Are Two Ways to Write Organic Themes
- What Is the Relationship Between Plot and Theme?
Positive Change Arc
A Positive Change Arc is about a character who overcomes the limited perspective of the Lie and expands into accepting the thematic Truth. For example, if the protagonist believes the Lie that “money is the only measure of success,” this will be challenged throughout the narrative by a healthier Truth, such as “love and integrity matter more than money.” In a Positive Change Arc, the plot tests the Lie and gradually reveals the Truth to the character. The character will end by embracing the thematic Truth.
For further study:
- Book: Creating Character Arcs
- How to Write Character Arcs
- How to Figure Out WHAT Your Character’s Arc Should Be
Flat Arc
In a Flat Arc, the protagonist begins the story already in possession of the story’s central thematic Truth. Rather than undergoing a dramatic internal transformation, as in a Positive or Negative Change Arc, the Flat Arc character remains internally stable throughout the story. The arc instead revolves around the protagonist’s influence on the external world; the protagonist acts as an Impact Character, confronting a widespread Lie within the story world and catalyzing change in others. Although the protagonist may face personal struggles or moments of doubt, the character’s core beliefs remain intact. The journey is about standing firm in the Truth and acting as a model to others. The Flat Arc is thematically powerful because it dramatizes how one person’s commitment can ripple outward into meaningful transformation in the world.
For further study:
- How to Write a Flat Character Arc, Pt. 1: The First Act
- 5 Reflections on Flat Arcs
- Why Doubt Is the Key to Flat Character Arcs
Negative Change Arc
In a Negative Change Arc, the protagonist begins in relative stability but ends in personal or moral ruin. Unlike the Positive Change Arc, in which the character overcomes the Lie and embraces the thematic Truth, the Negative Change Arc features a character who either rejects the Truth outright, fails to understand it fully, or twists it to justify harmful actions. This arc often explores tragic or cautionary themes, showing how disillusionment, fear, or pride can lead a character deeper into the Lie. There are several variations of the Negative Arc—including the Disillusionment Arc, the Fall Arc, and the Corruption Arc (see below)—all of which chart different paths of internal descent, ultimately highlighting the consequences of resisting integrity and growth.
For further study:
- How to Write a Negative Character Arc
- Learn 5 Types of Character Arc at a Glance: The 3 Negative Arcs
- 9 Negative Character Arcs in the Enneagram
Disillusionment Arc
The Disillusionment Arc is a type of Negative Change Arc that mirrors the Positive Change Arc with a protagonist who begins the story with a deeply held belief in a Lie. However, unlike in a Positive Change Arc, the Truth the character uncovers by the end does not bring hope or healing. Instead, the character comes to see a painful reality behind personal illusions, often realizing that the world, a trusted person, or even personal ideals were not completely true. Although the protagonist gains clarity, it comes at the cost of innocence, purpose, or emotional well-being. This arc is often quieter and more introspective than other Negative Arcs, leaning heavily into themes of loss, ambiguity, and the harshness of truth that offers no clear redemption.
For further study:
Fall Arc
The Fall Arc is a tragic form of the Negative Change Arc in which the protagonist also begins the story believing in the Lie—with potential for growth—but makes increasingly destructive choices that lead to moral or personal downfall. This character often believes a Lie that distorts the understanding of self or the world. Rather than confronting it, the character doubles down out of pride, fear, or ambition. The Fall Arc is marked by a progressive unraveling. As the character rejects the thematic Truth, these actions isolate the character, corrupt personal values, and ultimately cost everything. The Fall Arc is a powerful arc for exploring the consequences of hubris, moral compromise, and the refusal to change.
For further study:
Corruption Arc
The Corruption Arc is the darkest variation of the Negative Arc. In this arc, the protagonist not only falls into ruin but embraces it. Rather than being challenged by the Lie, the character actively adopts it as “Truth,” often finding a twisted form of empowerment or control through this descent. The Corruption Arc charts the transformation of a character who may begin in a place of relative neutrality or even good intentions but gradually chooses self-serving, harmful, or malicious actions. This arc is especially powerful for exploring the seductive nature of power, the erosion of empathy, and the conscious rejection of moral truth. Unlike the Disillusionment or Fall Arcs, which can evoke sympathy, the Corruption Arc tends to leave the audience with a sense of dread, horror, or moral reckoning.
For further study:
Character Archetypes
For further study:
- Book: Writing Archetypal Character Arcs
- Course: Shadow Archetypes
- Guided Dreamzoning Sessions: Archetypal Character Guided Meditations
Life Cycle of Archetypal Character Arcs
The Life Cycle is a developmental framework that maps the evolution of a character’s internal growth across a lifetime of thematic journeys. Rather than focusing solely on the Hero’s Journey, this cycle presents six mythic and successive journeys (alternating between feminine and masculine) that reflect different seasons of human experience. At each stage, the character embodies a specific transformational archetype—Maiden, Hero, Queen, King, Crone, and Mage—and undertakes a corresponding arc that reflects the psychological and thematic challenges of that life phase. The Life Cycle also encompasses six Flat Arc periods that precede each transformational journey—Child, Lover, Parent, Ruler, Elder, and Mentor. Throughout the entire Life Cycle, characters may also also face or embody corresponding shadow archetypes (both passive and aggressive) and archetypal antagonists (both inner and outer). This cyclical view offers a rich, mythically resonant structure for deepening character development in a single story or across a larger series.
For further study:
- How to Write Archetypal Character Arcs
- An Introduction to Archetypal Stories
- How to Use Archetypal Character Arcs in Your Stories
Transformational Archetypes or Journeys
The Transformational Archetypes—Maiden, Hero, Queen, King, Crone, and Mage—represent a progression of Positive Change Arcs that reflect key developmental milestones in the human experience. These archetypes align with the life seasons of a character’s journey, each offering its own unique challenges and opportunities for growth. The Maiden and Hero embody early-life arcs centered on discovering identity, testing limits, and learning to act with integrity and courage. The Queen and King transition into midlife roles of stewardship and service as the character matures emotionally and ethically by taking on increasing responsibility for others. Finally, the Crone and Mage represent elderhood, with wisdom, legacy, and spiritual clarity coming to the forefront. These arcs are all Positive Change Arcs, in which the character overcomes a limiting Lie, embraces a thematic Truth, and transforms internally in a way that benefits not only the self, but often the broader community as well. Collectively, these archetypes trace a powerful map of human maturation through storytelling.
For further study:
- Introduction to the 6 Archetypal Character Arcs
- The Maiden Arc
- The Hero Arc
- The Queen Arc
- The King Arc
- The Crone Arc
- The Mage Arc
Flat (or Static) Archetypes
Flat archetypes portray characters who already possess a firm grasp of the story’s thematic Truth and remain internally steadfast throughout the narrative. Instead of undergoing personal transformation, these characters serve as stabilizing forces or guides, influencing others to grow or change. Within the framework of the Life Cycle of Archetypal Character Arcs, Flat archetypes alternate with the transformational archetypes, representing the periods of integration that take place after each transformational journey. Flat archetypes appear not only in the early and mid stages of life (as with the Child, Lover, Parent, and Ruler) but also in the later stages (with the Elder and Mentor). Though their arcs are Flat in structure, these characters play pivotal roles in helping others confront Lies, embrace Truths, and fulfill their own transformational journeys.
For further study:
Shadow Archetypes
Shadow archetypes represent the distorted or wounded versions of each transformational archetype. Rather than embodying the thematic Truth, shadow archetypes operate from a place of fear, repression, or misused power, often doubling down on the Lie. Shadow archetypes are presented as pairs that reflect both the passive and aggressive expressions of certain inner drives—for example Damsel/Vixen (distorted Maiden), Coward/Bully (distorted Hero), Snow Queen/Sorceress (distorted Queen), Puppet/Tyrant (distorted King), Hermit/Wicked Witch (distorted Crone), and Miser/Sorcerer (distorted Mage). When written with depth and nuance, these archetypes not only challenge the protagonist but also reflect who the character risks becoming if the Truth is not embraced.
For further study:
- Introduction to the 12 Shadow Archetypes
- Course: Shadow Archetypes
- How to Create Insanely Complex Characters Using “Shadow Theory”
Archetypal Antagonists
Archetypal antagonists are deeply symbolic forces that represent the collective resistance to an archetype’s thematic Truth. Unlike shadow archetypes (which reflect the personal, often internalized distortions of individual characters), archetypal antagonists function on a mythic or systemic level, manifesting as corrupt institutions, cultural illusions, existential threats, or even metaphysical forces—as well as internal catalysts. These antagonists are presented in symbolic pairs (reflecting both structural roles and thematic opposition), which successively oppose each transformational archetype. The Maiden faces Authority and the Predator, the Hero faces the Sick King and Dragon, the Queen faces the Empty Throne and Invaders, the King faces Rebels and a Cataclysm, the Crone faces the Tempter and a Death Blight, and the Mage faces the Weakness of Mankind and Evil. These archetypes are invaluable for stories exploring epic, allegorical, or deeply thematic stakes, allowing writers to pit their protagonists against challenges that are not just physical, but symbolic and mythic.
For further study:
- Archetypal Antagonists for Each of the Six Archetypal Character Arcs
- Authority/Predator
- Sick King/Dragon
- Empty Throne/Invader
- Rebels/Cataclysm
- Tempter/Death Blight
- Weakness of Mankind/Evil
***
Whether you’re brand new to my approach or have been using these terms for years, I hope this glossary gives you a deeper understanding of the language behind your stories. These concepts—many of which I’ve refined over time or developed to meet the nuanced needs of modern storytelling—are more than just vocabulary. They’re tools to help you think more clearly, write more intentionally, and craft stories that resonate on both structural and thematic levels. As always, use what serves you, adapt what inspires you, and keep building your own creative lexicon as you go. Happy writing!
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Author: K.M. Weiland | @KMWeiland
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