The logline is probably the hardest sentence to write.
The logline sums up a story in one sentence. This sentence should be memorable and clear, which means it is unlikely to be much longer than thirty words or to have complex syntax.
Once your reader has read your logline – or your listener heard it –, they will ideally know the following about your story:
- who it is about
- what the central conflict or main problem is
- what the most important characters do in the story
- why they do it, i.e. what their motivations are
- how they do it
- where all this happens, i.e. what the setting is
- when it happens, i.e. what the period is
The first of these points even counts double – since usually the logline should convey not only who the main protagonist is, but also what antagonism she faces.
What’s the logline for?
The purpose of the logline is to pitch your story.(more…)
The protagonist is the main character or hero of the story.
But “hero” is a word with adventurous connotations, so we’ll stick to the term protagonist to signify the main character around whom the story is built. And for simplicity’s sake, let us say for the moment that in ensemble pieces with several main characters, each of them is the protagonist of his or her own story, or rather storyline.
Generally speaking, the protagonist is the character whom the reader or audience accompanies for the greater part of the narrative. So usually this character is the one with most screen or page time. Often the protagonist is the character who exhibits the most profound change or transformation by the end of the story.
Since the protagonist is on the whole a pretty important figure in a story, there is a fair bit to say about this archetype, so this post is going to be quite long.
In it we’ll answer some questions:
- Is the protagonist the most interesting character in the story?
- What are the most important aspects of the protagonist for the author to convey?
- What about the transformation or learning curve?
How interesting must the protagonist be?
Some say the protagonist should be the most interesting character in the story, and the one whose fate you care about most.
But while that is often the case, it does not necessarily have to be true.
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Archetypes in stories express patterns.
While plots may be “archetypal” when they exhibit certain forms, in this post we are concerned with character archetypes.
In modern storytelling, to consider them as archetypes might suggest a bit of a corset, perhaps even a straightjacket for the characters. For today’s author, to present a character as an archetype does not seem conducive to achieving psychological verisimilitude.
But an archetype is not the same as a stereotype. An advisor or mentor does not need to be a wise old man like Obi-Wan Kenobi. And an antagonist does not need to be a baddy.
Consider archetypes as powers within a story. Like planets in a solar system, they have gravity and they therefore exert force as they move.
Archetypes denote certain general roles or functions for characters within the system of the story. There is ample room for variation within each role or function. Boundaries between one archetype and another may be fuzzy. And it is possible for one character to stand for more than one archetype.
Archetypes Through The Ages
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Stories are about people. Even the ones about robots, or rabbits, or whatever.
If you’re thinking about composing a story, you will probably have some characters in mind that will be performing the action of the story. In stories, action and actors (in the sense of someone who does something) are pretty much the same thing looked at from two differing perspectives, as we have noted in our post Plot vs. Character.
What sets characters in fiction apart from people in life is that characters tend to fulfil narrative functions in their story. People, on the other hand, live their lives by acting naturally according to the dictates of their personality. A story is a more or less enclosed unity, while an individual’s life is part of a greater whole. Only in retrospect do we sometimes overlay a narrative onto the biography of an individual – because we tend to feel happier when we perceive structure or direction in the lives of others or indeed our own. We can extract more meaning out of a life that can be told with structure and direction. In fact, there is no way of recounting a person’s biography without making choices concerning structure. If we’re honest, even the choice of which events to relate and how to relate them injects a fair amount of fiction into the story of a life, especially when that life is our own as we tell it to others or ourselves.
Many stories focus primarily on one protagonist. In fiction at least, the protagonist is usually wiser at the end of the story than at the beginning. The(more…)
