The Good Guys

As I’m working on my query and synopsis for my small child magician novel, I have found myself feeling very reflective. The query and the synopsis feel like a summation of all I have done for this novel, and since this novel was the novel I just couldn’t give up on, the novel that has grown and changed as I have grown and changed—as a person and as a writer—it feels pretty significant. I wrote the first draft of this novel almost twelve years ago, when I was in seventh grade, and since then, I have taken enormous strides in my writing. For one thing, I learned about plot—what it is, how to do it, how to do it well. But at the same time, I also learned a lot about characters, and how characters are the key to moving a good story forward, just as much—if not more—than the plot. Also, I talked all throughout last November about plot, so I’ve decided it’s time I ramble about characters.

 

When I was in high school, I thought that the trick to strong characters was knowing every single possible detail about them that I could. I created a questionaire of 199 questions to make my characters real (in no particular order), and I answered every single question for every single character. Now, I laugh at my younger self a little bit. It’s not that this stuff isn’t important. It is. It helps you grasp what kind of person your character is. But you do not have to be as anal about it as I was. Beyond useless trivia, it probably isn’t essential that you know what your main character’s best friend’s older brother’s favorite color is. Unless it’s a significant part of the story—like he will only wear bright orange shirts, so the main character can always see him coming from a mile away—then really, no one is going to care that you know that particular fact. What I came to understand in college is that it’s much more important to know the big things than the small things. What does your character want? What are they willing to sacrifice to get it? What is their plan to get it? What do they care most about in the world? What are they most afraid of? What are they insecure about? It is these big questions and big ideas that shape who a person is—not their favorite pizza topping or least favorite hairstyle.

 

But there’s something even bigger that I’ve learned about characters as I’ve worked on my small child magician novel. A strong character is not only a well-rounded character. A strong character is an active character.

 

I’m going to talk specifically about protagonists right now. (In the next few weeks, I plan to discuss antagonists and side characters and how they influence the story in their own right, so stay tuned.) The protagonist is the main character of the story. They’re the character who—we hope—the reader is rooting for in the story (unless you’re writing an antihero (which I have never successfully done and don’t particularly like to read about, except when I do and then find myself totally baffled). In short, the protagonist is the good guy.

 

I think I’ve said before that the stories I most like to read and consequently aim to write are driven pretty equally by both plot and character. That means that while the story is pushed forward by outside influences—the plot—it is also moved along by the actions of the characters. A strong protagonist has agency—they are an active agent in their own plot.

 

It seems obvious, but it took me absolutely forever to get a grip on this. For the longest time, my protagonist was just flipflopping all over the story, being pushed around by the other forces in her life rather than standing up and making her own decisions. I learned that protagonists need to have agency, but it just didn’t sink in. Countless critiquers told me this was a problem, but either they didn’t say so in exact terms, or again I just didn’t get it. Then, at the end of my first year of college, it finally clicked into place. That it took this long for me to get it means that this lesson is really important for me. I think it is hands down the number one most important writing lesson I have ever learned.

 

For a story to work, your protagonist has to want something. That can be as simple as wanting to stop the antagonist, but your protagonist can have their own agenda entirely separate from the antagonist, until the antagonist gets in the way, of course. But the point is, your protagonist has to want something. Once your protagonist wants something, they have to take action to get it. This action drives the plot forward, and it also spurs character development. Because of course, it can’t be easy for your protagonist to get what they want. There has to be something standing in their way. Otherwise, it wouldn’t be a story anyone would want to read. It is when a protagonist takes action to surmount seemingly insurmountable odds, to tackle impossible challenges, and to come out the other side changed, even if they are not victorious (though victory is always an added bonus), that we find stories we love.

 

You can have an incredible, twisting, turning, thrilling plot, but it isn’t going to work if your protagonist is just being dragged around by that plot. Your protagonist needs to stand up and say, “No, this is my story, and I’m going to play a part in it.”

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