Ooo! What a juicy question. Since I
write predominately YA short adventure stories, I’m mostly in the mindset of
the protagonist, the young teen who will change the most and be the hero of the
story. In a lot of my adventure stories, the physical antagonist is a wild
animal or weather or natural phenomenon, like an avalanche or a fire. That’s
not to say I don’t have a sibling or bully causing external problems too. There
also needs to be an internal “antagonist” of sorts in the form of something
bothering the protagonist; like a personal fear or lack of courage to do
something, or an unwillingness to change.
Even so with such a tight word
count, usually 1800 words, I only have word space for one perspective.
So how does the writer get the perspective
of the antagonist onto the page when writing on a limited word count?
The writer does this through the protagonist’s
perspective. The protagonist projects his or her own feelings about the bully,
the mean sibling, that natural phenomenon, or even the protagonist’s personal
fear to the reader. In other words, the protagonist interprets what all the
action, inner struggle, or problems mean to the protagonist, who’s driving the
story and must solve the story problem, especially in children’s fiction.
In order to go beneath the
surface of the story, the reader needs to see how the action or problems, affect
one person—the protagonist. If the writer chooses to write through the perspective
of the antagonist, the story needs to be affecting the antagonist the most.
As a writer, which character is more
interesting to speak as; the protagonist or the antagonist? Again, I think it’s
important to see how what’s happening in the story affects each of those
characters. It’s what the story actually means to a character that adds depth
to the story, that helps the readers connect with the character. Ultimately,
that’s what makes the story distinctive.
I can’t wait to see whose
perspective you prefer to write through and why. Thanks for visiting! Please
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This post was written for the
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