I'm currently putting together a pitch for a TV series but my producer is telling me that the character arcs need to be more detailed than the ones I'm currently providing.
Could anyone point me in the direction of some information relating to these? Better still, does anyone know where I can see some examples?
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I think the works of Joseph Campbell, specifically about the heroes journey will help you there!
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Disclaimer, not a TV writer.
But as I understand it. Characters in TV don’t arc nearly anywhere near as much as Features. If we look at Breaking Bad. Walter took years to become the guy at the end. If it was a feature he would be a murderous gangster by the midpoint of the movie.
More detail may mean, the pressure being placed upon the character to force the change. How is the change effecting him outside the area of change. Walter was becoming a huge drug manufacturer but trying to pretend to be a mild family man. These two thin rubbed against each other creating more tension.
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Not all by any means but a lot of character arcs are highlighted by them overcoming a personal flaw (or not overcoming a flaw leading to more tragic end.) They might not even realize they have a flaw, (they could simply be mean or jealous) but there always comes a day/hour when character is forced by outside circumstances to face their innermost selves. In deep drama characters see themselves as they really are for the very first time, (profound moment) or as in fast paced action could simply be a character has a habit of polishing their shoes, so now faces an AK47 down their throat. His simple act of being "vain" enough to care about shoes fashion police cost him the five minutes antagonist came up stairs. Whoever the character, story world or circumstance, lay a foundation of inner neurosis or trait, in turn causes conflict in outer world, which forces some sort of arc. What are they going to do now? Arc can be good or bad but change needs to occur. I studied under numerous mentors on this subject and could go on another three hours. Rule of thumb is lay subtle seeds this character probably will always be the same, plot shit happens, character is at unexpected crossroads. They change in some way. February London Screenwriters Festival starts 5th Feb till 29th. I think there's a few discussions which may cover this. (This is a spin off of the main festival later on in year.)
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PS Scott Myers has free PDF's on his website @gointothestory There's 11 PDF'S but I remember one of them is about character arc. Christopher Vogler goes into character arc but it's more hero's journey than every day scenario, yet could be quantumized (my spoonerism) to apply to everyday stuff. A strong emotion may trigger an arc more than money, imminent danger or power.
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David Simon's "The Wire" bible is online. It's about 80 pages, explains the series, world, tone of show, main characters, breaks down Season 1 episode plots with snippets of dialogue.
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Character needs to have arc only if YOU decide it needs to be incorporated in the story. Where's the arc on Alonso Harris from Training Day? Still one of the best written anti-heroes to this day.
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A good example of an arc is Andy character in film The Shawshank Redemption. He’s an icy character and even the judge thinks so who passes sentence. “So icy my blood curdles.” Andy did not commit the murder he’s sentenced 19 years for, nevertheless his icy manner got him into trouble first place, he confesses “I didn’t show her love but I didn’t pull the gun.” (His wife and lover were murdered). His confinement ensues a psychological journey which he shares with other inmates such as “Red”. End scene he’s a changed man and to celebrate that change baptises himself in the river. Red does not arc and his life hangs in the balance. ANOTHER cool arc is Jules the ruthless gangster in Pulp Fiction. He’s shot at point blank range, miraculously a ripple of bullets does not hit him, which he interprets as a miracle. “It was a miracle and I’m going to change.” Transformation can go other way and be negative like Scar Face Tony Montana or Charles Foster Citizen Kane. Some arcs are life changing whereas others are way more basic. I reckon rule of thumb is provide a battery of forces in the script that force change in character.“Metamorphosis can take on an endless variety of ways.“ Jung quote. Plot turning points may force circumstances for character but it’s the character’s “reaction” to whatever’s thrown that shows the arc. Not every producer wants an arc, character could stay in negative stasis for tragedy.
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There are a lot of articles and youtube videos out there. I would pinpoint what you're looking for. protagonist antagonist supporting characters. I would also get feedback from other writers.
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Anna Henry's Stage 32 pitch deck webinar is really great for this. She includes several very different examples of pitch decks to shows that got made. The New Girl one is especially helpful in regards to character breakdowns.
https://www.stage32.com/webinars/How-to-Write-a-Professional-TV-Pitch-Do...
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The Netflix Stage 32 class on Thursday is going to be talking about pitching to Netflix. I bet they will touch on that.