Refuse to Repeat Beats

Samples of progressions and escalation

An Exclusive Writing Lab on the exacting work of subtle character development. The power of causality. And a method to help you suss out your own characters in your early drafts.

Welcome into Flight School:

It’s really quite simple: Progression means forward motion. Escalation means rising tension/action. Ha! 🤯 It’s as simple as deciphering hieroglyphics, you might say.

I get it. And, you’re right.

Many successful writers, do not get this. If I had a nickel for the number of teachers, editors, agents who don’t get it either, I’d be a rich woman. The way to get it is example, so let me break down the characters of Jennifer and Rick in The Summer of ‘72 to show how each is developed, via both progression and escalation.

For reference we pull from:

Ch. 1: The Wheels Fall Off

Ch. 2: Hot Water

Ch. 3: Moody Women

Ch. 4: The Yarn Garden

Ch. 5: The Scream

First, second, and third dimensions of character

Before we can talk about progressions/escalations, we need to understand that character comes in three waves:

First dimension shows what simply exists. How the characters look and act to include hair, make-up, type of car they drive, wardrobe, taste in food and music, certain attitudes, their job, political positions and so on. Meaning is left to the reader.

Second dimension provides reasons for many of these choices including where they come from in the character’s early formation.

Third dimension goes to the heart, soul, and moral compass of the character. Through third dimension, all that supplied first and second dimension give the reader what they need to witness character growth, also known as the character arc.

Before the inciting incident (the first crisis that forces the primary character to make a story changing choice) the writer primarily focuses on first dimension character development, laying in qualities without much explanation. Some qualities can be there to misdirect the reader, others to be developed.

The writer starts moving to second dimension character development (providing reasons for first dimension) and subtly working in third (or character growth or lack thereof) after the first plot point (when the true story launches).

By the mid-point and to the end, third dimension is the sole focus and culls from all the first and second dimension work done in the first half of your book.

All I’ve just summarized comes from many sources, but this book used in our Bones of Storytelling is the most concise. I’ll include the chapters at the end of this post.

Jennifer in Summer:

Ch. 1: The Wheels Fall Off

1st dimension: Jennifer is newly married and has been married before. She has kids from the previous marriage.

There’s trouble in her new marriage which is what this story is about: (“Later, I’d listen to that song again. The full line went: Well, I don't see no holes in the road, but you. Find another place to fall. It contains our whole story, I thought, but I’m getting ahead of myself…”)

Jennifer copes by putting on a good front: “It’s okay. We’re okay. I’m fine. Everything is fine.” (This is also known as “a horse” meaning this phrasing will be repeated throughout, or be a horse the writer will get on and ride to the end).

During a crisis Jennifer seeks reliable help she can count on, usually from her former spouse. She is communal when making decisions, meaning she consults others she trusts before taking action.

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