Recently I have started listening to various podcasts, political; entertainment, and writing are the most represented subjects. One of the writing podcasts is Writing Excuses and it features a number of established writers discussing in an abbreviated format, just 15 minutes or so for each episode, various subjects and approaches to improve one’s writing. An episode I listened to recently concerned character arcs, the emotional trajectory and changes a character undergoes through the course of a story. Author Mary Robinett Kowal presented a tool for charting a character’s course through the arc and she put it in the form of a mnemonic; DREAM.
D: Denial. The character is in denial about the needed change, the aspect of their personality that is damaged or missing.
R: Resistant. The character, presented with evidence of the subject of their denial, resists the evidence, doubling down on their denial.
E: Explore. The character begins exploring the missing aspect of their nature, moving tentatively away from their denial.
A: Acceptance. The character accepts the truth of the flaw or missing elements that they need to change.
M: Modify. The character’s actions are modified by their acceptance and this expresses the new ground state for the character.
I thought it would be an interesting exercise to apply this tool to perhaps the most well know character arc in cinema, Richard ‘Rick’ Blaine’s transformation from self-centered cynic to Romantic fighter in the 1942 classic Casablanca.
Denial: The film starts with Rick, by way of his actions, expressing his denial of any need for personal relationship or any ideology other than his own self-interest. He dismisses romantic attachments existing only in the moment. “Where were you last night? – I can’t remember that far back. Will I see you tonight? -I never plan that far ahead.” When Ugarte begs for help Rick is plain that he ‘sticks his neck out for no one.’ However we, as the audience, are given glimpses that this is not Rick’s true character. Captain Renault probes Rick’s character, speculating on what brought him to Casablanca and Rick’s evasive lies are evidence of a different character hiding inside the cynic. Rick’s holding the transit letter stolen by Ugarte and not turning them over to the authorities is also an indication that there are things he may think are more important then himself and he will not willingly assist the Nazis or their puppet government.
Resistant: Rick is confronted with his facade when Isla Lund comes back into his life. He tries to shows that she doesn’t mean much to him when he effectively calls her a prostitute and dismisses any possibility of any love lingering in his heart. Sam, another character utilized to reveal truths that Rick will not admit to himself, gives voice to Rick desire to run away. Rick insisting that Sam play As Time Goes Byis Rick proving that he and Isla’s former love means nothing now is his resistance given voice.
Explore: After Rick sobers up he seeks out Isla and tries to get her to tell the story he rebuffed while drunk but she refuses. When he goes to her this is Rick exploring the concept that he hasn’t gotten over Isla. He doesn’t say so overtly, he still wears an armor of cynicism but it is still merely a facade.
Acceptance: When Isla comes to him and threatens to kill him for the transit letters and Rick does nothing, inviting her to shoot him, he is accepting that he has never stopped loving Isla. The self-centered armor falls away and he leaves himself open to death. Isla’s collapse and inability to kill him forces Rick to accept the truth about their love and himself.
Modification: At the end of the film Rick convinced Isla, even though they love each other deeply, to go away with Victor. He has given up his gin joint and joins the resistance fighting to Nazis. He has changed his actions, committing himself to a cause larger then his own petty interests.
I have to say I think this tool works pretty damn well.
