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For us to be interested in your protagonist, there must be more at stake than mere survival. Survival is merely a technical problem. The physical action of an escape story is usually used to explor...
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#4: Attribution notice removed
by
System
·
2020-01-03T20:41:57Z (almost 5 years ago)
Source: https://writers.stackexchange.com/a/37253 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#3: Attribution notice added
by
System
·
2019-12-08T09:14:27Z (almost 5 years ago)
Source: https://writers.stackexchange.com/a/37253 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#2: Initial revision
by
System
·
2019-12-08T09:14:27Z (almost 5 years ago)
For us to be interested in your protagonist, there must be more at stake than mere survival. Survival is merely a technical problem. The physical action of an escape story is usually used to explore a deeper escape story, one that is more psychological, more moral, in nature than physical. In facing the beast, the protagonist must also be facing something within himself. His conquest of the beast must arise from (and also symbolize) his escape from the beast within. (Or, alternately, his conquest by the beast must mirror his conquest by the beast within.) Note that this is not about making him sympathetic in the sense of making him likeable. A good guy escaping a beast is no more interesting than a bad guy escaping a beast unless there is another level of conflict involved.
#1: Imported from external source
by
System
·
2018-06-26T17:58:44Z (over 6 years ago)
Original score: 6