Why The Protagonist Must Be A Problem-solver
Why the Protagonist Must Be a Problem-solver
In some ways, this post's topic sounds obvious, in others . . . not so much. On the surface, the tip seems simple, and yet, it is easily and often overlooked.
Your protagonist must be a problem-solver.
Yup.
A problem-solver.
I don't care if she's the laziest, most passive, most dimwitted person on the planet, within the context of the plot, she must be a problem-solver (even if a reluctant one).
Otherwise, she'll feel like a weak character.
Otherwise, the plot will feel weak.
Of course, I'm sure you can find rare exceptions to this.
But 99% of the time, your protagonist needs to be a problem-solver.
So let's talk about why.
Why it's Important for The Character
Imagine a protagonist who doesn't problem-solve. She encounters the antagonist, reacts emotionally, but doesn't do anything to try to win the conflict, or at least gain the upper hand of the conflict. She won't be interesting for very long. It's hard to care about what happens to her, when she's putting no effort in to resolve it, when she doesn't care enough to try to fix it herself. It may start to feel like she's stuck in a loop--just circling the same internal responses over and over again, never really progressing, never really moving on.
Sometimes writers mistakenly think this makes her more sympathetic, but in reality, as counterintuitive as it may sound, the opposite is true. Audiences lose interest or become annoyed.
We've all met people who talk, and whine, and fume about their problems but don't do anything to better their situation. We may feel sorry for them at first, but eventually, we want them to take action to improve their predicament. Often we may even find ourselves giving advice (or in some cases, doing the problem-solving work for them).
We feel the same way about characters.
Your protagonist doesn't need to be the next Sherlock Holmes or Violet Baudelaire to be a "problem-solver."
At the most basic level, what this means is that when she encounters an 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.
When the protagonist is the one coming up with goals and plans, and implementing them, the audience becomes more invested in her. They want to stick around to see if she's successful. She also now holds some accountability over what happens--the consequences--and that actually makes her more interesting and more sympathetic. What happens, good or bad, is on her. She holds responsibility.
If your protagonist isn't problem-solving, it may be a sign that her wants aren't strong enough. Solid stories will showcase the protagonist's deepest desires (however big or small, or grand or modest), what she would sacrifice almost anything to obtain, avoid, or maintain. If the right desire is in jeopardy, the protagonist should naturally be driven to problem-solve. Characters with strong wants are more compelling. And in reality, we all have powerful wants we house deep within our hearts.
Great stories will test and challenge the deep desires of the protagonist's heart. And if that's not happening, you likely haven't figured out your protagonist's deepest desires or you need to alter the character so that she desires what she desires more deeply. Don't settle on something she kinda wants. Find what she'd be tempted to sacrifice her life for--literally or figuratively (meaning her current lifestyle). What does she want to obtain, avoid, or maintain bad enough, that she'd consider doing things she wouldn't ordinarily do? That's the kind of want you should showcase--whether it be obtaining recognition as employee of the month, avoiding responsibility by taking on a new identity, or maintaining control by offing all rebels.
It's usually helpful to focus on an abstract want--obtain recognition, avoid responsibility, maintain control--that can then manifest into various concrete goals. Most people aren't going to give their "lives" to become "employee of the month," but many have gone to such lengths to obtain recognition; becoming employee of the month is just one way to obtain that. So even if the goal seems modest on the surface, tie it to a deep abstract want. (A bit of a tangent, but it's useful, so I left it in here 😉)
When the protagonist is problem-solving, it conveys to the audience what she cares about. If the rebels are increasing in power, and she doesn't do anything about it, then obviously she doesn't really care about being in control very much. That's not a deep desire of her heart. So we need the protagonist to problem-solve to help convey character.
And finally, if she's not struggling to overcome (problem-solving), she's probably not growing through a character arc. She's stagnant. She's not changing her worldview as she strives for success, nor is she wielding her beliefs, growing in resolve. This can make any attempt at an internal plotline feel repetitive or nonexistent, because the character isn't progressing on an internal journey. She's just stuck in the same spot.
Why It's Important for the Plot
Solid stories will showcase the protagonist's deepest desires, and even if those desires are abstract (obtain recognition, avoid responsibility, maintain control), if the character wants them bad enough, they will manifest into concrete goals (employee of the month, new identity, off the rebels) that have specific plans (show up on time to work, move to a new city, locate the rebels' base).
So the protagonist has a goal. The antagonist opposes the goal.
And since there should be an antagonist for nearly every scene, this means there are problems in nearly every scene.
If the protagonist isn't trying to solve those problems, by adjusting his goals and plans, then it's likely the plot isn't properly progressing. Like I mentioned with the internal journey above, the external journey probably feels repetitive, or in some ways nonexistent. It's just circling the same situation over and over, in the toilet bowl.
If you find yourself arguing against this, then it's likely because another character is the one doing most of the problem-solving, in which case, it's also highly likely that character is the true protagonist, and your "protagonist" is really more of a viewpoint character spectating the external plotline.
The plot needs conflict in order to progress properly. If the antagonist shows up, and the protagonist allows himself to just get beaten, it's not strong conflict. Sure, stuff is happening, but if the antagonist is hammering him to the ground without his resistance, it's not much of a conflict. It's passive victimization. And while that might work in a scene or two, it's not going to hold for a whole story, or even a whole act.
A passive victim isn't a problem-solving protagonist. Obviously.
So, suffice it to say, your protagonist needs to be a problem-solver.
More Posts from Defis-archive and Others
A tutorial on a (bit cheating) way of creating fictional maps.
Open your editing software (RECOMMENDING Krita, since it's free and it's very good).
Step 1: Google "X country silhouette" and copy it.
Paste it onto the canvas.
Step 2: Separate the silhouette from the background you copied with it! You can do that by using magic wand selection tool or by making a gradient map with black on 49,9% and transparent on 50% on the slider.
Step 3: Repeat several times with numerous countries and/or islands, cities, municipalities, communes, continents et cetera.
Step 4: Combine, mesh, stretch, rotate, mirror - go ham, make it work.
Step 5: Erase and add.
Step 6: Have your map outline ready, copy/paste it several times in the same doc on different layers and edit in different ways like biomes, kingdoms, mountains and other.
Step Mountains+: To figure out mountains, make another layer on the doc and do something like this:
-and then in every polygon you add an arrow.
Where arrows meet or transfer onto continents, add mountains.
Color the sea with a couple layers of depth and you're done :D
i watched one (1) video on how to draw hands that changed my life forever. like. i can suddenly draw hands again
these were all drawn without reference btw. i can just. Understand Hands now (for the most part, im sure theres definitely inaccuracies). im a little baffled
How to create an atmosphere: Supermarket
Sight
advertisements for products
big signs showing discounts
aisles full of colorful products
fresh produce
employees in matching uniforms
all different kinds of costumers
with shopping carts
with children running around
with a stroller or toddlers sitting in the shopping cart
with a service dog by their side
Hearing
the sound of shopping carts being pushed and bumping into shelves
parents calling for their children
people talking on the phone
a man asking his wife if they still have enough toilet paper at home
someone asking the employee where they can find something
music interrupted by announcements about promotions the store is doing
the surring and beeping sound of the cash register belt
the sound of the electronic doors opening and shutting again
Touch
the stickiness of the floors
the differents textures of each item they think about buying
the coldness and often stickiness of the handle of the shopping cart
the sudden wetness from some products that are either fresh produce or where the package is leaking
Smell
the smell of spilled drinks that someone dropped and left for the employees to clean up
the smell of cleaning products from them having to sweep it up
the smell of hand sanitizer
the smell of different products the costumer holds up to their face and smells to decide if they like it
the horrendous smell of deposit machines where you return your not quite empty beer bottles to and the leftover liquid spills everywhere
Taste
different samples offered at the supermarket
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Get yourself a fabric store that will light your fabric on fire for you
No but legit I asked what the fiber content of something was and the guy didn’t know so he cut a chunk off and lit it on fire and felt the ashes and was like. Yeah this is mostly cotton with a lil bit of silk. And that was the moment I knew. This is it. This is the fabric store for me. Also that guy is marriage material. Not for me but damn some person is gonna be so happy with him.
after eddie introduces a demogorgon to one of his hellfire campaigns, the kids get a little squirmy. they're nervously looking at each other and aren't engaging as excitedly as they usually do. when he calls time, he watches dustin rummage through his backpack and produce a walkie talkie.
he watches, a bit dumbfounded, as the kid demands a 'check-in'. all at once, multiple different voices come over the channel. stating a name and then saying 'safe.' ("nancy, safe." "robin, safe." "max, safe.")
"steve?" dustin demands. there's only static. "steve!" a little more frantic this time.
"he left to pick you up." a female voice replies, "he's probably fine. you'll see him soon."
none of the kids look particularly pleased, and pack up hastily. eddie and the other hellfire members all share confused glances. he, more morbidly curious than anything else, follows the little sheep as they hurry out of the school.
dustin is fucking restless as they all stand in the empty parking lot. he won't stay still and none of them are answering any of eddie's questions. and he only gets more confused when a brown beemer pulls in, windows down and playing depeche mode through the speakers. dustin goes to sprint towards it, and he has to hold him by the collar to stop him getting run over.
the beemer pulls up and steve harrington, in all his glory, steps out, frowning. dustin wrenches out of eddie's grip and all but bodies the guy, wrapping arms tightly around his midsection. steve, still looking puzzled, hugs back. lucas and mike trail after dustin.
"we called a check-in." dustin says, a bit muffled from where his face is smushed into steve's shirt. steve goes sort of pale, and- and presses a goddamn kiss to the top of henderson's head before tightening the hug.
"shit, i'm sorry." and eddie believes him. he sounds so guilty. "i meant to replace the batteries before i left. sorry, i'm okay." dustin pulls back and scrubs at his eyes. lucas takes his place, though the hug he gives is more like one of those bro-hugs jocks seem to love. steve smiles regardless. he just ruffles mike's hair, who pouts in response but looks relieved nonetheless.
"asshole." he mutters. "rule four, walkies on at all times." steve nods as the kid half-heartedly waves goodbye to eddie and hops in the backseat of the beemer. lucas follows. dustin seems reluctant to walk around the car, to take his eyes off steve for even a second.
"you wanna stay over tonight?" steve asks, warm and gentle. he folds his arms and in that moment eddie thinks they look sort of like brothers. "robin and me were gonna watch some films. we can call your mom from mine."
the kid nods, looking a bit happier. steve slaps him on the back and motions him to get in the car. dustin swivels to hug and say goodbye to eddie (who sort of forgot he was physically present in this moment) before doing as he was told.
steve turns to eddie. which- whew! hi pretty eyes.
"sorry." he smiles and eddie can't for the life of him figure out what he's apologising for. "they, uh- yeah. them." he gestures vaguely at the car and eddie just chuckles.
"hey, man, no worries." he says, a little breathless that he's having a conversation with the steve harrington. "they okay? never seen henderson look so rattled." steve nods, then seems to think better of it and just shrugs. cocks his hip to the side (stop fucking staring at his hips, munson, lord!)
"they will be." he glances back at the beemer, which is now full of childish bickering. pauses to think and then asks, "you using demogorgons in your campaign right now?"
eddie blinks at him. "yes? yeah. what the fuck- how do you know what that is? what-" steve just laughs.
"long story." there's a haunted look in his eyes before he continues, "just, uh- that's probably what upset them. demogorgons and us- them, i mean-" he waves his hand. "bad memories. hard to explain, but... if you could..." he doesn't need to ask, seems like he doesn't know how or even if he's allowed.
"got it, ill tweak the campaign." harrington smiles at him, something small and genuine, and murmurs a thanks. offers him a fucking lift, which eddie declines, motioning to his van. harrington just nods, tells him to get home safe and then clambers back into the car, yells at the kids to put seatbelts on with all the exasperation of a single dad, and pulls away.
eddie watches them go, having seen a side of harrington he'd thought dustin had been lying about. steve harrington, the caring babysitter, everyone's older brother, a changed man.
he starts escorting the kids to the parking lot more often.
We need like “unclench your jaw” posts but for eye strain. Like
Go look at something 20ft away for 20 seconds.
100 Dialogue Tags You Can Use Instead of “Said”
For the writers struggling to rid themselves of the classic ‘said’. Some are repeated in different categories since they fit multiple ones (but those are counted once so it adds up to 100 new words).
1. Neutral Tags
Straightforward and unobtrusive dialogue tags:
Added, Replied, Stated, Remarked, Responded, Observed, Acknowledged, Commented, Noted, Voiced, Expressed, Shared, Answered, Mentioned, Declared.
2. Questioning Tags
Curious, interrogative dialogue tags:
Asked, Queried, Wondered, Probed, Inquired, Requested, Pondered, Demanded, Challenged, Interjected, Investigated, Countered, Snapped, Pleaded, Insisted.
3. Emotive Tags
Emotional dialogue tags:
Exclaimed, Shouted, Sobbed, Whispered, Cried, Hissed, Gasped, Laughed, Screamed, Stammered, Wailed, Murmured, Snarled, Choked, Barked.
4. Descriptive Tags
Insightful, tonal dialogue tags:
Muttered, Mumbled, Yelled, Uttered, Roared, Bellowed, Drawled, Spoke, Shrieked, Boomed, Snapped, Groaned, Rasped, Purred, Croaked.
5. Action-Oriented Tags
Movement-based dialogue tags:
Announced, Admitted, Interrupted, Joked, Suggested, Offered, Explained, Repeated, Advised, Warned, Agreed, Confirmed, Ordered, Reassured, Stated.
6. Conflict Tags
Argumentative, defiant dialogue tags:
Argued, Snapped, Retorted, Rebuked, Disputed, Objected, Contested, Barked, Protested, Countered, Growled, Scoffed, Sneered, Challenged, Huffed.
7. Agreement Tags
Understanding, compliant dialogue tags:
Agreed, Assented, Nodded, Confirmed, Replied, Conceded, Acknowledged, Accepted, Affirmed, Yielded, Supported, Echoed, Consented, Promised, Concurred.
8. Disagreement Tags
Resistant, defiant dialogue tags:
Denied, Disagreed, Refused, Argued, Contradicted, Insisted, Protested, Objected, Rejected, Declined, Countered, Challenged, Snubbed, Dismissed, Rebuked.
9. Confused Tags
Hesitant, uncertain dialogue tags:
Stammered, Hesitated, Fumbled, Babbled, Mumbled, Faltered, Stumbled, Wondered, Pondered, Stuttered, Blurted, Doubted, Confessed, Vacillated.
10. Surprise Tags
Shock-inducing dialogue tags:
Gasped, Stunned, Exclaimed, Blurted, Wondered, Staggered, Marvelled, Breathed, Recoiled, Jumped, Yelped, Shrieked, Stammered.
Note: everyone is entitled to their own opinion. No I am NOT telling people to abandon said and use these. Yes I understand that said is often good enough, but sometimes you WANT to draw attention to how the character is speaking. If you think adding an action/movement to your dialogue is 'good enough' hate to break it to you but that ruins immersion much more than a casual 'mumbled'. And for the last time: this is just a resource list, CALM DOWN. Hope that covers all the annoyingly redundant replies :)
Looking For More Writing Tips And Tricks?
Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!
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Something like this would be so colossally helpful. I'm sick and tired of trying to research specific clothing from any given culture and being met with either racist stereotypical costumes worn by yt people or ai generated garbage nonsense, and trying to be hyper specific with searches yields fuck all. Like I generally just cannot trust the legitimacy of most search results at this point. It's extremely frustrating. If there are good resources for this then they're buried deep under all the other bullshit, and idk where to start looking.
![Title card reading: [Storyboarding Basics. Brought to you by NU Animation Club, March 23 2023]. There is a chibi drawing of Feeb drawing on a CINTIQ](https://64.media.tumblr.com/1bb4994121212e48c92ee88de5cbe45d/8f6b9c73271b12ac-28/s500x750/efeaa63ce1f755c3643a35f0973a68f1f1057236.png)
a couple snippets from a presentation i gave at school this past week on storyboarding!!
‼️DISCLAIMER: I am still a student and have only worked on student and indie projects! This is just stuff that I personally find helpful as an amateur, so feel free to take it with a grain of salt!
Happy boarding, friends! ✍️💕
burning text gif maker
heart locket gif maker
minecraft advancement maker
minecraft logo font text generator w/assorted textures and pride flags
windows error message maker (win1.0-win11)
FromSoftware image macro generator (elden ring Noun Verbed text)
image to 3d effect gif
vaporwave image generator
microsoft wordart maker (REALLY annoying to use on mobile)
you're welcome
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