Not every POV character in your novel needs full character development. But how do you decide which ones do?
In this episode, you’ll learn which POV characters need complete arcs and which don’t. Perfect for writers working on ensemble novels, dual POV stories, or any fiction with multiple perspectives.
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Episode at a glance:
[01:37] Multi-POV Characters Exist On a Spectrum
Co-protagonists have nearly complete transformational arcs.
Supporting POVs have some internal change but not full transformation.
Subplot characters provide a window into the story, but they don’t change at all.
[03:36] When Multi-POV Characters Need a Full Arc of Change
- The story is a full ensemble. These stories treat multiple characters as co- protagonists. Each has their own want, false belief, and transformation.
- When your POV characters explore different thematic questions. If one character’s driving question is What does loyalty mean? while another character’s question is, When is rebellion justified? – each of these characters need their own arc to answer their thematic question.
- When your genre demands it. For example, epic fantasy readers expect full arcs for each point of view character. Romance readers expect both love interests to transform.
[06:26] When POV Characters Can Skip the Full Character Arc
- Most thrillers and mysteries. The detective transforms, but the killer’s point of view might just show his actions as he traps the girl in the basement. He’s not going to change once the detective finds him. al stakes without changing dramatically.
- Some relationship stories. One character has the transformative arc while the other provides context or contrast.
- When POV’s serve different functions. Some characters are witnesses or mirrors. They give us a different angle on the main protagonist.
[09:24] Questions To Ask For Each Character POV
- What is this character’s role in the story? Is this character a protagonist who must transform? Or a witness who provides perspective?
- How much page time do they get? A character with 30% of the book needs development. A character with 5% serves a different purpose.
- What happens if you remove this character’s point-of-view? If the story doesn’t work without their point of view, either deep in their arc, or give them less narrative space depending on their role in the story.
Links Mentioned In This Episode:
Station Eleven by Emily St. John Mandel
Revolutionary Road by Richard Yates
The Poisonwood Bible by Barbara Kingsolver
The Nightingale by Kristin Hannah
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