Misaligned Character Wants & Plot Goals

Over the last several months, I've been writing on and off again about the internal plotline, and I've mentioned how one of its major components is the character's abstract want, which many in the writing world don't really talk about. Many of us were discouraged from focusing on the abstract, and for good reason, but the truth is, some of the most important components of your character are abstract--they exist within the character's mind and soul. 

In order to be effective though, these things have to show up concretely. A character who wants to be free, but then never takes any action toward that, doesn't do much for a story. It also calls into question whether that character actually wants freedom that bad.

If someone wants something bad enough, he will take action to get it. If he doesn't, it's just wishful thinking.

Sometimes, this abstract want is referred to as the motive, but to me, a character can have a lot of motives from one scene to the next. This abstract want I speak of, is something the character wants deeply and desperately, something the character will go to great lengths to get or, in some cases, keep. It's the driving force for almost all of the character's major decisions (and even many minor decisions.)

For example, in The Office, Michael Scott wants to be liked. This is what drives him to hold his bizarre conferences, to do a fun run to try to win Meredith's (and everyone's) respect back, to put "golden tickets" in their paper supply, and to even attempt jumping off a roof. When Michael thinks he's liked and admired, he feels his best, and when he thinks he's hated or rejected, he feels his worst.

A character can have more than one abstract want, but they're usually limited to one or two, sometimes three.

In The Hunger Games, Katniss has two driving wants, which are frequently in conflict with each other--to survive and to save others (particularly the innocent). This is why she volunteers to take Prim's place, why she wants to win the Games, why she teams up with Rue, why she destroys the Careers' supply, why she looks for and saves Peeta . . . and the list goes on, through the series.

Luke Skywalker's wants are to be great, and/or be part of something great. This shows up as different concrete goals for each act. First he aims to go to Academy. Then he desires to go with Obi-Wan to Alderaan and become a Jedi. Then he hopes to rescue the princess. And finally, he strives to destroy the Death Star, helping the rebellion.

All of his plot goals tie back to his abstract wants.

So do Katniss's.

So do Michael's.

Depending on your story and your character's arc, the abstract want may eventually change or be sacrificed for what is needed, usually in the last act--or sometimes, later in the series. In The Empire Strikes Back, Luke must be willing to let go of his wants in order to become a true Jedi--this makes Darth Vader's offer at the end, a great test for him.

In any case, there is a clear connection between the character's abstract want(s) and her plot goals in the story.

Except when there isn't.

And I see this on occasion. 

The text may tell me the character wants, yearns, and aches for freedom, but then all his plot goals seem centered on keeping up traditions. He's not trying to break away from his "captive"ating dysfunctional family, leave the restrictions of his hometown, or travel to New York to pursue his own dreams and lifestyle. Instead, he's bending over backward to keep family holiday traditions magical, his hometown's rodeo traditions alive as the antagonist threatens to stop them, and he's interested in implementing a new tradition at his old high school.

This makes me think that freedom isn't his true driving force. His actions show me that keeping traditions are what he most desires to do.

Perhaps these are competing wants, like Katniss. That's fine, but the plot needs to back that up by showing him taking steps toward freedom goals and steps toward tradition goals. The story likely needs to address these competing wants somehow.

If it doesn't do these things, then the protagonist's professions for desiring freedom, land flat. They sound like wishes, not real objectives. It's a lot of talk, and no action.

Not only does this weaken the character, but it can also take power out of the plot, and, surprisingly, the theme. 

It's more impactful if the want aligns with what the character's concrete plot goal is--it makes achieving that goal feel more important, more meaningful. It helps you tie more stakes to that plot goal. If Michael can't win back everyone's respect, we know he'll be psychologically damaged. That's a significant stake.

This abstract want is also often tied somehow to the theme. Katniss's desire to save others reflects the major thematic statement of The Hunger Games, that we should be willing to sacrifice ourselves to save others (which is the opposite of what the antagonists are doing). 

This all gets more complex though, more than what I can fit into this blog post. 

My point today is to simply explain there should be a connection between this want and the plot goal, and when those are misaligned, it weakens the story.

It feels off and doesn't resonate, because what the text claims is the character's greatest desire, isn't shown to be one.

If your character wants desperately to protect loved ones, then I need to see that.

We can't claim that Katniss's abstract want is to find companionship, when none of her overarching  goals relate to that.

We can't say that Luke's heart's desire is a personal life of peace, when he's getting involved with a war.

This is not to say there is no room for nuance or complexities, there are (case in point, Katniss).

But usually those nuances and complexities need to be addressed and shown somehow.

We at least need to show or explain how the character is putting one major want on hold to deal with another immediate, pressing objective--which will then enable him to go back to the first want.

This is the sort of thing that happens in It's a Wonderful Life. George has a burning desire to travel, but it keeps getting put on hold to deal with more pressing objectives--helping those of Bedford Falls (which he cares more about than he'll consciously admit). The audience understands George has conflicting objectives, and he's trying to deal with the problems of Bedford Falls in order to be able to finally travel. The audience witnesses him making preparations to go abroad to specific places, while also witnessing him helping specific people.

We could look at other, complex examples as well, and even come at some of these ideas from another angle.

But the point I'm making is that the conveyed wants should somehow be connected to the plot goals. They should not be totally misaligned. They should not be totally disconnected. Try not to do that.

Consider, what does your character really, truly, deeply want? 

Is that being reflected in their concrete goals?

If not, you'll likely want to adjust the plot, or the character, by changing the goals or changing the wants.