Writing Resource: Character Driven Storytelling VS Plot Driven Storytelling
We’re stepping back from romance tropes to talk about a fundamental building block of narrative storytelling. Today, I want to explain the difference between a story that is driven by its Characters, and a story driven by its Plot. Going into this, I wanna make it clear that I have no bias between either. Both forms of storytelling are good. But as we’ll see in my examples, one of them does have a weakness that the other does not. More on that later.
CHARACTER DRIVEN STORYTELLING
In a Character Driven Story, the narrative is used to create avenues to explore the characters. The characters, their relationships, dynamics, and flaws come before the story being told. The characters are the true heart and center of the story. Most Sit-coms and other such comedic stories follow this approach where the characters are used to tell the jokes, while the deeper world or story is used to give these compelling characters a world to inhabit. Daria, Futurama, and Bob’s Burgers are three such examples of excellent comedic shows that are Character Driven. Futurama may have compelling narratives and deeper lore, but it is still a comedy with a cast of lovable characters at the center of the story being told. This is not to say that a character-driven story can’t have an ongoing narrative, but rather that said narrative takes a backseat to the characters. Daria is great at using its characters to explore its themes and ideas. Let’s take an episode of Daria for our example. In the episode Through a Lens Darkly, Daria gets contact lenses. Her change to contacts from her former pair of glasses that seemed almost alienating and off-putting leads to many people complimenting Daria on the change, but the contacts are itchy and irritating. The next day, Daria doesn’t want to wear her glasses, but she also doesn’t want to wear her contacts, and lies about having her contacts in. After causing a mess in the cafeteria, Daria hides in the girl’s room out of shame, and her two closest female friends try to talk to her about what she’s going through. Daria confesses to feeling like a hypocrite, usually mocking the girls who care about their appearances, yet now being guilty of it herself. It’s not until popular girl Brittney comes into the bathroom that the situation improves. Britney tells Daria that knowing that someone as smart and antisocial as Daria cares about her appearance too makes Britney feel less self-conscious about how much SHE cares about her own appearance, and reminded Britney that Daria is a human being just like her. This is enough to finally get Daria to open the stall door and emerge, thanking Britney for her insight. Caring about her appearance doesn’t make Daria a hypocrite, it just makes her human. Daria the show isn’t full of bombastic action scenes or intense steaks, but the really good episodes have some amazing character work at their cores, exploring the identities and values of its cast.
PLOT DRIVEN STORYTELLING
When a story is driven by the Plot, the exact opposite happens. The narrative is the primary focus, while the characters exist to propel the story forward. However, just as a compelling story can exist within a character driven show, so too can compelling characters exist in a story driven show. Unfortunately, sometimes you end up with a story like RWBY, where the characters are only fighting the villains because they just happened to stumble into the larger narrative by accident. None of the characters have any personal steak in defeating the big bad. Most barely have a reason to even be heroes at this point. Blake has effectively completed her character arc, and Ruby is so stupid that another character had to make her sit down and learn about her protagonist super powers. Why are the heroes fighting the villain? Because... Qrow told them to? Hell, the girls now spend about half of every volume sitting around talking about what they should be doing while they wait for orders from Qrow, Oscar, or some other ally. You’d think that Ruby, the protagonist, would be the one leading the group towards the fight with Salem. But no, Ruby is as much a follower as the rest of the main cast while the grown-ups actually make most of the decisions. Does Qrow even need Team RWBY? Well... extra man power doesn’t hurt. That’s about how much Team RWBY specifically needs to be involved in this story. The Characters of RWBY do not exist to give the story shape, but rather, the narrative drags the characters through the story by their nose hairs. The girls have little to no agency. Qrow said go to Mantel, so they went to Mantle. Qrow said go to Atlas, so they go to Atlas. They haven’t been to Vacuo yet, so everyone heads to Vacuo. At this point, the main characters are just passengers in the narrative.
TEEN TITANS
Teen Titans is a perfect example of a character driven action cartoon. Every episode is centered around either nonstop jokes and comedy or a character having an emotional revelation. If one really stops and thinks about the villains of Teen Titans, one may realize how non-entities they all are. Almost every single villain is a two-dimensional bad guy with no redeeming quality, and some barely have a solid motivation. But that’s not why they exist as villains. The villains of Teen Titans are not nuanced people meant to be full characters in their own right. They are plot devices. A source of conflict to drive our heroes to act. Let’s take the episode Car Trouble from Season 1. This is a Cyborg episode. The episode begins with Cyborg showing the rest of the team the super car he built and is super proud of. A mission comes up, and the team gets in the car to thwart the villain, Overload. A couple thugs steal Cyborg’s car, and Cyborg goes crazy looking for it, with Raven questioning why he’s losing his mind over a stupid piece of machinery. The car gets stolen from the thugs by Gizmo, and finally possessed by Overload, who can assimilate into machinery. In order to get the car away from Gizmo and Overload, Cyborg has to destroy the T-Car, and Raven gives a heartfelt speech about how the car is a part of him and how he had to put a piece of himself into it when he built it. She then points out that the super chip of the car survived, and the episode closes on Cyborg rebuilding his car with Raven lending him a hand and giving him a rare and genuine smile as it fades to black. Did you notice how little the villains factored into that episode? Because the episode isn’t about Gizmo, or Overload, or the thugs that stole the car to begin with. It was never about them. The episode was about Raven and Cyborg making a connection. The car being stolen was simply the conflict used to facilitate this heart-to-heart between them. While Teen Titans did have arcing storylines that spanned season-wide arcs like the Terra Arc in season 2, H.Y.V.E. and Brother Blood in season 3, Trigon in season 4, and the Brotherhood of Evil in season 5, the show by large was still episodic, with most episodes featuring on two (or more) characters getting the spotlight as they work on better understanding one another, or realizing they were wrong about something.
VOLTRON: LEGENDARY DEFENDER
Voltron is the exact opposite of Teen Titans. Where Teen Titans uses its narrative to put a spotlight on its characters, Voltron uses its characters to put a spotlight on the narrative. The story is the main focus, with many episodes in a row sometimes carrying on small arcs within each season as ongoing plotpoints. While the story shines in its storytelling (at least in the early seasons), a few characters clearly get neglected in the process. It’s clear the writers liked Keith and Pidge since they get the best storylines and development, but the same cannot be said for Hunk. Hunk has a small arc in season 1 about helping Shae, a Balmeran alien he met. He doesn’t get another real heavy focus again until season 7, when he reminds a group of Galra the cultural significance of ‘Vrepit Sah’, an often repeated verbal salute that the Galra use. Hunk went 6 entire seasons being a background character with little if anything to do. What’s worse, Team Voltron has two tech people. Pidge, who is the hacker softwear specialist, and Hunk, the engineering hardware specialist. But when the warp core needs fixing, does Coran ask the engineer to help him with the engine? No, he asks the hacker to help with ship maintenance. The main thing Hunk should be doing for the team, and it’s handed to Pidge instead because she was clearly a writer’s pet character for the crew. To a lesser extent, this lack of attention from the writers effected many of the characters. Lance never really completes his arc, his friends constantly mock his lack of book smarts, and he gives up on his dreams at the age of 21 to spend the rest of his life pining over a girl he knew for about 4 years, and dated for a maximum of a few months. Allura started off as the effective team leader, telling the Paladins where to go and what to do to keep the ship operational, but once she becomes a Paladin, she’s actually demoted to taking orders from Keith. Also, she repeatedly makes it clear she has no romantic interest in Lance, he keeps persisting despite her telling him to stop, and then they start dating. And Shiro, poor Shiro, once they bring him back to life he has nothing to do. His dynamic with all of the Paladins has completely evaporated, his role in the team is gone, his brotherly bond with Keith has cooled to a highly formal workplace dynamic, and until the Atlas is finished being built, he has nothing to contribute to the team. In most scenes, he’s just ... there. Voltron is so focused on telling a story-driven narrative that it abandons its characters by the side of the road. And by the late seasons, the characters are so disregarded by the show that the story-driven narrative starts to crack and break apart without good characters to hold it together. When most fans talk about why the show isn’t as good later on, it’s because the great character writing from the first few seasons deteriorated. And even a good story is meaningless without compelling characters at the heart of it.
AVATAR: THE LAST AIRBENDER
Avatar is objectively the perfect balance between story-driven and character-driven storytelling. The overarching narrative of Aang needing to defeat Fire Lord Ozai propels the characters through the story, but several episodes take the time to make sure each character has compelling personal storylines as well. Whether it’s Iroh teaching Toph that it’s okay to let people help her, Sokka telling Toph that he can’t remember his mother’s face, Katara and Haru talking about the price of war and the loss of family, or just Zuko’s everything, the characters are the true heart of Avatar, and they get the love and attention that the characters of Voltron never did. I would say that Book 1 is more character-driven as it’s more episodic and light-hearted with occasional plot episodes, while Book 2 is the most plot-driven, as it has several tightly interwoven storylines between the day of black sun, Appa’s kidnapping, the Dai Li, and Azula’s coup, it’s the best season in terms of Avatar firing on all cylinders in the story-telling department. Book 3 is also story-driven, but a little weaker than season 2, as it loosens up on as much of a narrative focus to balance between character and plot. Yes, several important plot points appear in Book 3, but the season also takes several episodes to show Zuko going on friendship field trips with the three main heroes, Aang having a severe anxiety attack about the invasion plans, and The Beach is just a masterclass in character writing. Avatar strikes the perfect balance between Teen Titans’ character-driven action show, and Voltron’s narrative-driven action show to make Avatar an action show driven by both its characters and its narrative in equal measure.
