My intent is not to inflame Muslims but to entertain readers of great thrillers. At the end of the day, I want people to see a good protagonist struggle against serious odds and do so with courage and honor and integrity.
I can't tell you the number of stories I've told with a female protagonist don't get bought, or they do get bought and get changed drastically. Or, I will literally write into the script different races, and they get cast all-white. I hope that stops and it opens the door for more voices to be heard in movies.
In most shows, there's usually a hero or a protagonist, and even if there are multiple heroes or protagonists, most shows try and make it so you really always know who's the good guy and who's the bad guy.
Starring Russell Crowe as the Patron of the First Ark, 'Noah' had affronted some Christian literalists with its giant rock men, its weird visions, and the occasionally dark motives of its protagonist. But the film corralled enough religious leaders, including Pope Francis (with whom Crowe snagged an audience), to salve canonical objections.
I like to write stories that read like historical fiction about great, world-changing events through the lens of a flawed protagonist.
Think 'Game of Thrones.' In the old days, this sort of show might be considered bad writing. It doesn't really seem to be moving toward a crisis or climax, it has no true protagonist, and it's structured less like a TV show or a movie than a soap opera.
I gravitated to Judy Blume early on. 'Tales of a Fourth Grade Nothing' was my favorite, with a realistic and relatable protagonist in Peter Hatcher. When I reached the fourth grade, I made the leap to science fiction and never looked back.
Like my fictional protagonist Tom Thorne, I love country. My tastes go back a bit further than his do, and I still listen to stuff from the late '70s and early '80s.
I had been struggling with how to create a child-like protagonist's voice without making it sound as though I was 'dumbing down' to the character. They are able to see events, people and places with an intensity and open mindedness that adults lack.
My foray into young adult lit was by no means planned. I wrote the first 'Alfred Kropp' book as an adult novel, which everyone loved but no one would publish - until I changed my protagonist from a thirty-something P.I. into a 15-year-old kid. After that, it was off to the races, and I am so glad.
The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.
By the time you have your protagonist attempting to assassinate the Pope, you've sort of signaled that everything is on the table.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
There has to be a protagonist who has to overcome challenges, and there will be a race to finish.
It has been very rare to see a black woman as a protagonist. And also as three-dimensional people - mathematicians, mothers, wives, complicated people, not perfect.
The orphan in children's literature allows the child protagonist to move the story forward themselves. I think that, however happy a family, every intelligent child thinks: 'How did I come to be born to these parents?' - it is about finding your place in the world.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.
No matter how many times you've seen the movies and the TV shows that have a protagonist leaping in the path of a bullet, physics forbids such sacrifice. Because of a bullet's radical speed, you can't jump in front of it, but you could get in its way. It's not as dramatic, but it does save lives.
'Five, Six, Seven, Nate!' opens on my 13-year-old protagonist packing up a duffel bag and bidding his Midwestern town goodbye, heading off to start rehearsals for his New York City debut in 'E.T.: The Musical.'
I like animal sidekicks. They seem to be a pretty cool trope of post-apocalyptic fiction - just because if you're going to have this lone protagonist, they're going to need someone to talk to. Dogs are overused, and cats are dumb. So that leaves monkeys.
