Many writers have a vague understanding of what a protagonist actually is, and the misconceptions in the writing community haven't helped. Learn what truly makes a character a protagonist (and what doesn't).
Recently, I was brave enough to share my dissection and analysis of Twilight 😉🙃, and in it, I pointed out that--regardless of what the internet, readers, fans, or even the author says--Edward, not Bella, is the true protagonist (at least in the first installment). It is Edward who embodies what a protagonist actually is. Bella is the viewpoint character, and an important one, but she is not the protagonist.
Do I think this was a conscious decision?
No.
Yet it obviously still worked for a lot of people, regardless.
Most writers, though, are not so lucky.
As an editor, I've worked with a lot of new writers who tell me the protagonist is one character, but it actually isn't.
Because, in the context of the story, that character does not fit the role and definition of a true protagonist. This often makes the plot, and character, weaker.
The problem typically comes from a misunderstanding: The writer thinks that making someone the POV character makes him a "protagonist." But these are not technically the same.
Point of View Character vs. Protagonist
Just because someone is the viewpoint character, the one relaying or narrating the story, the one the audience is following around, does not mean he is automatically the protagonist.
Sherlock Holmes, Jay Gatsby, and Edward Cullen are all protagonists who are not the POV characters. John Watson, Nick Carraway, and Bella Swan are the POV characters; we read the protagonists' stories from their perspectives. It's entirely possible to write a story where these roles are not one and the same.
Almost always, though, we want these roles to be one and the same. This is what is usually most effective. When the protagonist is the viewpoint character, the audience is closest to the most important person--the person who has the most to win or lose, and the person who is the main driver of the plot. This theoretically creates the most impactful story. Everything hits stronger when the audience is in the mind and body of the protagonist.
But of course, there are exceptions. And they are just that, exceptions.
If the viewpoint character is going to be different than the protagonist, then it needs to be done for a good reason--like the fact that the protagonist is a genius who is difficult to relate to (like Sherlock Holmes), or a vampire who can read minds and, by extension, foresee the future (like Edward). Both of these protagonists' perspectives would be overwhelming to access, and difficult to read, right out of the gate. So instead, the authors gave us people more ordinary, John Watson and Bella Swan.
Or perhaps your POV character offers a special perspective on the protagonist or situation, like Nick Caraway. Or maybe you want or need to create distance from the protagonist because he is an unsavory person. Or because his impact on others is more important than being in his mind.
There are several reasons that may justify making these roles different characters.
But ignorance or laziness usually aren't part of them.
Hero vs. Protagonist
I also want to mention that a hero isn't necessarily a protagonist either. Being heroic doesn't make the character any more of a protagonist than being the viewpoint character does.
Once again, most often, the protagonist will be a hero, a "good guy."
But these are not one and the same.
The word "hero" is Greek, and comes from a root word that means "to protect" or "to serve." A hero is ultimately willing to sacrifice her wants on behalf of what is needed or necessary, on behalf of others. A hero has a positive character arc.
But there are many protagonists who have a negative character arc, who prioritize their own wants over what is needed or necessary, who prioritize themselves over others, when it comes down to it.
Often the word "hero" is used interchangeably with "protagonist" (and I myself am known to do that on occasion, because often they are one and the same).
But technically, the protagonist may be an anti-hero, or even a downright villain.
In Death Note, the protagonist is the villain. And the antagonist is the hero.
So being a protagonist has little to do with morals, ethics, or character arcs either (which is a common misconception).
What is a Protagonist?
The word "protagonist" comes from the Greek word "prōtagōnistḗs," which literally means "first combatant." This is essentially the character who combats the antagonistic forces the most. So he is usually the one who struggles in the story the most, while still exercising meaningful agency (he can't just be a victim).
A true protagonist will be one of the most active characters in the plot, and likely, the most active. He is the one taking action toward the goal.
His agency ultimately matters more than the other characters'--what he chooses to say and do turns the direction of the plot. He makes the story happen. It does not matter if he is a peasant or a king, a professional or a rookie, experienced or naive, within the context of the plot, his decisions are influencing what happens next.
It's Sherlock who is solving the case. It's Edward who is overcoming his vampiric tendencies to be in a relationship.
Similarly, it does not matter that Frodo is a humble Hobbit from a shire--one of the objectively most "powerless" people--and not a king like Aragorn; in the story, it's Frodo's decisions that ultimately affect the plot the most (though Aragorn is probably the second most important).
The protagonist must be assertive enough to make the story happen--whether that motive is innate or brought on by threats (read: the stakes become so significant, the protagonist feels he must do something).
The protagonist is almost (always) the biggest player in resolving the main conflict. It's Sherlock getting to the bottom of the mystery. It's Edward overcoming his vampiric nature to save Bella from James. It's Luke shooting the Death Star. It's Katniss pulling out the berries. It's Rumi defeating Gwi-Ma with her blade.
And if I were asked to sum up what a protagonist is in one word, it would be "problem-solver."
It does not matter if she is objectively "weak" within her "world," or even if she wants to be the laziest, most passive person on the planet, within the context of the plot, she must be a problem-solver (even if a reluctant one).
Of course, this does not mean she needs to be a genius like Sherlock Holmes.
At the most basic level, what this means is that when she encounters the antagonistic force (a problem), she's coming up with--or perhaps shifting--goals and plans (however big or small, or grand or modest), and taking action to try to make those a reality.
If she's not doing that, she's probably too passive in the plot and not exercising enough agency. The story is happening to her, but she's not doing anything to make the story happen. She's not influencing the direction of the story.
In other words, she's probably not the protagonist.
And she's likely just a viewpoint character.
Yes, there are always exceptions (for example, you may be writing an ensemble story, where there is no real protagonist), but if your "main character" is not fitting these qualifications, then the truth is, she's probably not the protagonist.
And the truth is, that's probably going to be a big problem.
So make sure your character meets these qualifications.
.jpg)
