Friday, July 08, 2005
Protagonists and the Choice Story
Each type of character mixes naturally with a certain kind of story, like seasonings work best in certain dishes. For instance, cayenne pepper makes for a zesty main dish, but isn't most people's spice of choice for a dessert.
Just so, a certain type of protagonist fits naturally with a Choice Story. She's likely to be contemplative, rational, calm, and uncertain about what her personal yellow brick road looks like. She knows she needs to find it, because she's got a problem or need that's crying out for help. It's just that, like is so often common of the human condition, her reasoning is frustratingly beclouded with doubts and uncertainties.
She's bright and perceptive. These are the strengths that will ultimately illuminate the proper path for her to take. If she's slow to take action, it's because she wants it to be the right action. For example, Princess Ann in Roman Holiday (1953) is a brilliant young lady with a need to throw off the constraints of her exalted position. As she falls in love with reporter Joe Bradley, her ultimate choice becomes harder to make. She takes her time in long, lingering, and bittersweet scenes of parting. But the audience always has faith she has the brains, sensitivity, and ethics to make the right choice when the last second finally arrives.
An action-oriented, tough-minded, kick-butt protagonist may chafe in a Choice Story. While forcing this type of character to wait and sit out a decision may increase internal pressure, there are risks. Imagine, for a moment, such a protagonist in Roman Holiday. Someone like Dolly Levi (The Matchmaker and Hello, Dolly!) in the role of the princess. The character may burst out in action and wreck the story's structure. Readers may intuitively discern the character's potential for action, and build expectations the story cannot fulfill.
These observations are only generalizations. A skilled chef can create a delicious dish from untypical ingredients. But when building an audience, sometimes it's the familiar dishes prepared with excellence and a unique touch that please the greatest number of people.
Just so, a certain type of protagonist fits naturally with a Choice Story. She's likely to be contemplative, rational, calm, and uncertain about what her personal yellow brick road looks like. She knows she needs to find it, because she's got a problem or need that's crying out for help. It's just that, like is so often common of the human condition, her reasoning is frustratingly beclouded with doubts and uncertainties.
She's bright and perceptive. These are the strengths that will ultimately illuminate the proper path for her to take. If she's slow to take action, it's because she wants it to be the right action. For example, Princess Ann in Roman Holiday (1953) is a brilliant young lady with a need to throw off the constraints of her exalted position. As she falls in love with reporter Joe Bradley, her ultimate choice becomes harder to make. She takes her time in long, lingering, and bittersweet scenes of parting. But the audience always has faith she has the brains, sensitivity, and ethics to make the right choice when the last second finally arrives.
An action-oriented, tough-minded, kick-butt protagonist may chafe in a Choice Story. While forcing this type of character to wait and sit out a decision may increase internal pressure, there are risks. Imagine, for a moment, such a protagonist in Roman Holiday. Someone like Dolly Levi (The Matchmaker and Hello, Dolly!) in the role of the princess. The character may burst out in action and wreck the story's structure. Readers may intuitively discern the character's potential for action, and build expectations the story cannot fulfill.
These observations are only generalizations. A skilled chef can create a delicious dish from untypical ingredients. But when building an audience, sometimes it's the familiar dishes prepared with excellence and a unique touch that please the greatest number of people.
