Definition of Tragedy in Literature: Are Sure You’re Really Writing One?
By: Shaunta Grimes
Tags: Writing, Fiction, Novel, Creativity, Books

Tragedy in Literature: a story wherein the main character is either dead at the end or would be better off dead.

That’s the definition. Not a sad story. Not even a very sad story.

When ever I teach a class about story arc or plotting, I always ask my students if they’re writing a tragedy. Usually, in a class of adults, most people (actually usually none) believe they are writing tragic stories. And they’re right.

Modern stories are rarely truly tragic.

If I’m teaching teenagers, usually about half of them raise their hands. Kids love a good tragedy. Or at least, they think they do. What they mean is that they’re writing an intense story, which is what they really love. Because of course they do — they’re going through an intense period of ife.

Intensity isn’t the same thing as tragedy.

Here’s that definition again: A tragic story is one where the main character is either dead at the end, or would be better off dead. You can have a very sad story, but if at the end the main character has learned something and will soldier on and be better for it, the story isn’t tragic.

There’s only one reason the definition of tragedy in literature really matters, if you’re not trying to pass a test.

For readers, the difference can feel minute. Patrick Ness’s A Monster Calls ripped me to shreds and it was tragic for me to read. But it’s not a literary tragedy. I can’t watch E.T. without bawling at the end, but it’s not cinematic tragedy.

As a writer, though, the definition matters a lot. Because the story arc of a tragic story is different from the that of a non-tragic story. Things happen at different points along that arc.

Knowing the difference helps me make sure I stay on course with my storytelling.

Here are the main points where the definition of tragedy in literature matters for writers:

The Mid-Point Mirror

The mid-point mirror refers to the fact that the tone of the mid-point climactic scene is the same (or mirrors) the tone of the end of the story.

In a non-tragic story, the mid-point climax is a huge win for the main character.

This is where Harry Potter catches the snitch in his mouth and wins the quidditch match for his house.

This is where Dorothy and her friends finally get to the Emerald City.

In a tragic story, the mid-point climax is the dark night of your main character’s sole.

As I’m writing this, I’m watching a movie called The Vanishing.

(There will be big spoilers here, be warned!)

The Vanishing is a classic tragic story. It’s about three lighthouse keepers who find a chest full of gold.

In the mid-point scene of this movie, the main character kills what he thinks is a man, but it turns out to be a young boy who reminds him of his son.

The Main Climax

The main climactic scene of pretty much any story — a book or a movie — comes about three quarters of the way through.

In a non-tragic story, this scene is the dark night of the soul for the main character. It’s the darkest moment of the book. Both the character and the reader have no idea how it will be possible for things to be turned around.

This is the part of a book where you find yourself reading way past your bedtime, because you can’t put it down. This scene puts your main character in a pit that they’ll have to climb out of.

It’s where Harry Potter and his friends realize that Dumbledore has left Hogwarts, just when they need him most.

It’s where Dorothy realizes that the man behind the curtain is a fraud.

In a tragic story, though — remember, you’ve already had the dark night of the soul. Instead, you’ll need to bring your character out of the pit, up high so they have somewhere to fall from.

In The Vanishing, the main climax comes when it seems like the main character has come back to his senses after being completely unhinged by killing the boy at the mid-point. These three lighthouse keepers have endured their six-week shift and they’re finally going home — with some gold.

The Third Act Twist

The third act twist is the scene, in the third act, that turns the story from the tone of the main climax to the tone of the end of the story.

In a non-tragic story, it’s how the main character pulls out of the dark night of their soul.

It’s where Harry figures out how to trick Professor Quirrell.

It’s where Dorothy defeats the wicked witch.

And in a tragic story, it’s how the main character falls from their highest moment in the story.

In The Vanishing, it’s when the main character kills one of the other lighthouse keepers. It’s an act he can’t come back from. We’re left with the idea that this character will never have the life he used to have — he’s not dead, but who he was is and what’s left is a shell.

Ask yourself these questions to determine if you’re writing a true tragedy.