Character-based vs. Concept-based stories
There are many ways a story can be told. We could follow a unique character’s perspective, or classify what genre a story falls in to, but another way of looking at the stories we see starts with asking the question: what drives the story forward? What events take place or decisions are made that brings the characters we follow into the next step in the story? Generally speaking, I believe there are two types of stories that exist based on how they are carried from the first act to the last: character-based and concept-based. The discussion of this topic is in the context of stories told through the medium of film and television using examples from those I have personally seen. Surely there are more ways that a story can be told and more mediums in which this applies to, but I will only be referring to the medium I know best.
Before evaluating the differences between the two classes, let’s first establish what is shared between them. What I mean by based is looking at the function of what drives the story forward. Every story has characters, and usually they are on a path of achieving a goal, or seeking to preserve something. That forces the characters to make decisions, which begins to define plot. Plot, as described by YouTube channel Filmento, is “Goals, Stakes, and Urgency”. This is also called the external conflict, the goal of the protagonist or the obstacle they have to overcome, the stakes involved in regard to their decision-making, and urgency in which they must achieve their goal. However, not every film has a plot, but every one has a story. The story is everything inside and outside of the script. It’s the backstory of the protagonist, the circumstances they come from, and the world they live in. Story and plot are two things a script uses to communicate their ideas to the audience, but are not the only things driving the story.
For a quick example of plot and story, let’s use Ocean’s Eleven. It’s a heist film with a strong plot: rob several Las Vegas casinos at once. The story behind it is: why was George Clooney’s character in jail? What happened with him and his ex-wife? Who is in charge of these casinos? They are intertwined at parts, but function in separate ways. The film only moves forward because the characters in the story make consequential decisions.
Another driving force behind movies, when done correctly, is the use of theme. Theme is the overall meaning of the story that the writers want to convey to the audience. It is like plot in that it is a driving force behind the actions of the characters, however, where it differentiates from plot is the fact that it is subtextual, internal to the characters. Plot would say “I’m going to rescue the princess”, whereas theme could say “love is what drives man to risk his life to be a hero”. Plot can literally be spoke, whereas theme SHOULD remain unspoken. For example, a common theme in western films is justice, or the modernization of America out of a more primal state. It may make references to justice, or the struggle with adapting to the new ways of the west, but as long as they don’t say it while actively making decisions, the theme is put in its correct place. Two examples of theme blurted out, breaking its subtextual nature (for reasons I do not know and cannot assume) include Interstellar and Us. In Interstellar, one of the characters says in the middle of a scene “love is the one thing we’re capable of perceiving that transcends dimensions of time and space”. This is an explicit statement of the theme of the film that is used to debate which planet they need to travel to next. This externalization of the internal is jarring, counterintuitive when approaching “natural” dialogue. In Us, there externalization of the theme is less obvious, but is more obtrusive. When going into the second act, the antagonist says “we’re Americans”. This line is almost a fourth wall break, slapping the audience in the face with the theme of the film. The rest of the film shows things that happen loosely connected to the theme of the film which they very clearly articulated to the audience. Theme is a powerful tool when used properly, and is something shared by both character-based and concept-based stories.
Another driving force behind movies, when done correctly, is the use of theme. Theme is the overall meaning of the story that the writers want to convey to the audience. It is like plot in that it is a driving force behind the actions of the characters, however, where it differentiates from plot is the fact that it is subtextual, internal to the characters. Plot would say “I’m going to rescue the princess”, whereas theme could say “love is what drives man to risk his life to be a hero”. Plot can literally be spoke, whereas theme SHOULD remain unspoken. For example, a common theme in western films is justice, or the modernization of America out of a more primal state. It may make references to justice, or the struggle with adapting to the new ways of the west, but as long as they don’t say it while actively making decisions, the theme is put in its correct place. Two examples of theme blurted out, breaking its subtextual nature (for reasons I do not know and cannot assume) include Interstellar and Us. In Interstellar, one of the characters says in the middle of a scene “love is the one thing we’re capable of perceiving that transcends dimensions of time and space”. This is an explicit statement of the theme of the film that is used to debate which planet they need to travel to next. This externalization of the internal is jarring, counterintuitive when approaching “natural” dialogue. In Us, there externalization of the theme is less obvious, but is more obtrusive. When going into the second act, the antagonist says “we’re Americans”. This line is almost a fourth wall break, slapping the audience in the face with the theme of the film. The rest of the film shows things that happen loosely connected to the theme of the film which they very clearly articulated to the audience. Theme is a powerful tool when used properly, and is something shared by both character-based and concept-based stories.
Now, onto the topic of this discussion, character-based vs. concept-based films. Beginning with character-based, one way to identify this type of story is that they are often titled after the main character. Then it usually centers around the perspective, thoughts, and actions of this main character. This brings us to the first point: if you remove the main character, can the story still exist? Can you remove Walter White from Breaking Bad and still have Breaking Bad? No. Can you have There Will Be Blood without Daniel Plainview? No. Their characters, every decision they make, how they see the world, are what the story is. Without them to follow, there would be no story. Some character-based stories are very story-centric, as in not all have distinct plots. Back to the Future is a great example of a character-based story that has a plot. It is character-based because if you take away Doc Brown, you don’t have someone to build the time-machine. If you don’t have Marty McFly, you don’t have someone to go back in time and interact with his own family and make decisions that will, in effect, decide whether or not he will exist. And it has a clearly defined plot: Marty must try to use the technology that Doc Brown made to get back to the future. When comparing these topics, it’s best to think “can this go on without them”? If not, you’re probably witnessing a character-based story.
Concept-based stories, on the other hand, are stories where the concept or idea of the film is the main character. Not to be mistaken for theme as an idea, concepts are externalized, explorable ideas that has an effect on the world the story takes place in. And, since they’re the star of the show, characters can be removed, exchanged, or non-existent in these stories. One of the most famous examples of a concept-based story is one of my all-time favorites, Indiana Jones and the Raiders of the Lost Ark. It’s easy to think that since Indiana Jones is in the title that it’s a character-based story, right? The funny thing is, is the story doesn’t require him to be in it at all. In fact, if Indiana Jones wasn’t in the movie, it would have played out almost exactly the same way (besides the final resting place of the Ark of the Covenant at the end). This is why it fits nicely into the concept-based category, the concept of the Germans seeking religious artifacts during World War II was enough to stand on its own. We simply have Indiana Jones as eyes in the movie’s world to see the events that take place. If the concept of a film is a sort of character on its own, making the characters in the story make decisions because of the concept, then it would be considered a concept-based story.
As we refer to plot in character-based and concept-based films, a way to summarize it is who is making the decisions? In character-based, the characters are making decisions based on the consequences that (usually) they caused. In concept-based stories, the decisions they make are because of how the concept affects the characters, either in consequences to resolve or as an obstacle to overcome. As an example of plot in a concept-based film, let’s look at Inception. The decisions Cobb has to make are because the concept forces him to. Without the concept (inception), he wouldn’t be in trouble. But because he is in trouble, he as to use the concept (inception, again) to finally clear his name. So, the major differences in these categories comes in that they both retain separate functions in how they utilize characters or concepts to control the progression of the story.
Let’s give another example of a character-based movie using story, plot, and the function of the characters to clarify my point. John Wick is a prime example, his name is in the title, we see the world through his perspective, and his decisions are what makes the story happen. If you remove John Wick, the retired hit-man who got married, lost his wife, got a dog, then lost the dog to Russian thugs, you have no story. This is different from concept because these are events in a story, not a concept that forces the character’s decisions. So, we watch John Wick make consequential actions on his own merit resulting in an escalation of conflict until he reaches the end of his goals (plot) and beats the bad guy(s). You can apply these same qualifications to other films to decide for yourselves if they are or are not character-based.
Now, is this to say character-based stories are inherently better? No. This is a discussion on the characteristics of these types of stories so that if you wish to write a story, it can help you to narrow down core structural details that will decide how the story plays out. Both are found in major franchises, like Star Wars would be concept-based and has a huge franchise, while the Fast and the Furious are character-based and are also (somehow) still going. The point is to evaluate what you’re trying to write, and how categorizing it can help you write a story of your own.
Put simply, stories are about actions and consequences. A good test for my theory: does the show or movie end after the main character dies? If so, it’s probably a character-based show. If the the actions are relatively non-consequential, or have no greater affect on the continuation of the story, because the world or concept continues without them, it would be concept-based. Stories are rich in complexity and intention, so these attributes that I have discussed may not apply to all stories. It’s just a new way of looking at movies and thinking about what makes them tick.
If you enjoyed this essay, share this with your friends and others who like movies! If you’re interested in seeing more examples of character-based vs. concept-based stories, I’ll leave a list below of more examples that I believe fit into each category.
(Excluding biopics, documentaries, and superhero movies)
Character-based:
Barry (2018-2023)
Bullet Train (2022)
Hustle (2022)
Top Gun: Maverick (2022)
The Batman (2022)
Crazy Rich Asians (2018)
Nocturnal Animals (2016)
LaLa Land (2016)
John Wick (2014)
Nightcrawler (2014)
Breaking Bad (2008-2013)
There Will Be Blood (2007)
Back to the Future (1985)
Concept-based:
The Last of Us (2023)
The Creator (2023)
The Pale Blue Eye (2022)
Nope (2022)
Tenet (2020)
A Quiet Place (2018)
Baby Driver (2017)
Arrival (2016)
The Lobster (2015)
Kingsmen: The Secret Service (2014)
Insidious (2010)
Tron: Legacy (2010)
Inception (2010)
Lost (2004-2010)
