How To Write A Great Quest

What Is The Quest In A Novel?

The Quest is the fundamental narrative purpose of a novel, representing the protagonist's journey through the story to achieve a significant particular goal or objective, be it an action (to win a war) or emotional (to find love). It is both the journey and the goal. It is also the external reason for the protagonist’s arc and their transformation.

There is always an invitation to the central character to undertake the Quest, which is usually called the Inciting Incident. The protagonist will always ultimately accept that invitation and undergo challenges, obstacles and revelations before a resolution of the Quest, which can be successful or unsuccessful. As stated, a quest can be for a tangible object – to win a crown or a war or magical ring – or an intangible goal – to find love or meaning – but it still propels the protagonist, the plot and the reader forward.

NOTE: The central character may not consciously perceive that they have been invited to the Quest at the Inciting Incident. In Pride And Prejudice, Elizabeth Bennet’s inciting incident happens when she conceives a dislike of Mr. Darcy after overhearing him speak unflatteringly about her. However, this is the moment which will pull her into their turbulent relationship, in which misunderstandings and their prickly personalities are core obstacles, but through which they find love.

The Quest works externally and internally. The external journey in a novel refers to the actions, events, and challenges a central character (the protagonist) faces, usually driving forward the plot. It comprises both the object itself and its conflicts. It involves pursuing a romance, resolving a mystery or winning a conflict. The internal journey is the emotional and psychological growth of the protagonist as they undergo this external journey. It covers their inner fears and desires, and comprises their deep inner transformation over the course of the story. It is who they are and how they change as a result of going on the Quest.

Quest structure is almost universal in all but the most experimental literature today. It shapes stories in all genres of fiction. Even in those most experimental novels, the experiment itself (usually structural) can become a sort of quest. We, as the reader, want to complete the Quest, to see how the whole novel works. Italo Calvino’s If On A Winter’s Night A Traveler, in which a book constantly has to restart with a new first chapter, is a great example of this. How will it end? How can such a book hold our interest? That is its quest. That is its point.

Think of it that way. The Quest is the point of your novel.

What Does The Quest Look Like?

Let’s break down the Quest quickly. It typically involves:

1. A challenge or opportunity that disrupts the protagonist’s ordinary life and hints or tells directly of the journey ahead (the Inciting Incident).

2. A final decision to undertake the Quest. The protagonist agrees to leave the Status Quo and to step into the unknown.

3. The protagonist encounters obstacles and adversaries, testing their resolve, personality and even their morality or self–conception.

4. As they confront the challenges inherent in the Quest and whatever the outcome, they undergo a significant change or realization. The Quest is then completed.

5. Usually, at the end, we see the protagonist either returned to their ordinary world, with a new outlook, or in a new/transformed world. This is the Quest’s aftermath.

What is the Arc of Transformation?

The arc of transformation is the emotional and psychological journey a character undergoes as they pursue the Quest. At the beginning, the character is usually flawed in some way (they may be afraid, or unable to cope with love, or have too much pride and prejudice), and when presented with the invitation to join the Quest, this weakness is often revealed by their behavior or feelings. Facing the challenges of the story forces them to confront their flaws and become braver, or more tolerant, or more open to love. By the end, the character has undergone significant change, often gaining new strength or self–awareness. They have changed, usually for the better. Their internal arc mirrors the external arc of the narrative, and the two are inherently linked, and interrelate very deeply. Achieving this will always be resonant for the reader. Note that in Gone Girl, Nick’s arc is not that he becomes a better person but that he now understands how toxic his life with Amy is, and has achieved emotional if not physical independence from her.

This is an excerpt from How To Write A Novel Chapter By Chapter available here: https://www.amazon.com/How-Write-Novel-Chapter-Outlining-ebook/dp/B0DJ8TMVWL?ref_=ast_author_mpb

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