A protagonist is the main character of a story, book, or movie.
Like the protagonist, the antagonist can take many different forms. In Romeo and Juliet, Romeo and Juliet are the protagonists. These cookies do not store any personal information.Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. While the most common practice is for a hero to be the protagonist and the villain to be the antagonist this is not always the case. What's a Protagonist and How Do You Write a Great One?What is an Anti Villain (with Examples and Definition)How to Write Internal Conflict and External Conflict in a Script
A prototypical movie antagonist is "the big bad", a famous female villain or male villain whose goal lines up in direct contrast to the hero’s goal.Of course, in a lot of adventure and action movies, the antagonist is clearly defined. They complete the triangle of conflict andThey embody what’s at stake overall and are often who the protagonist and antagonist both end up fighting over.Not all movies have a stakes character, but it’s worth noting that many do and understanding how their own goal usually represents the Lauren is the stakes character who represents what’s at stake for Truman: leaving the island and living his life off-camera, thus avoiding a figurative death.Maya is the stakes character who represents what’s at stake for Miles: finding love and saving himself from a figurative death.John’s deceased wife represents what’s at stake for John as he tracks down the gangsters that killed the dog she gave him before she died.Jack’s family—his wife Annie and their two daughters—are the stakes characters who he has to save from literally dying at the hands of the armed rebels.Josh and Renai’s son is the stakes character who needs to be saved from literally being killed by the Further.Note how in each case, the stakes character is what brings both the protagonist and antagonist together in They are the glue that holds the three-way triangle of conflict together as the protagonist and antagonist fight over them.Lauren is always being bundled away by the authorities in Also note that in dramas and comedies, the stakes character is also theNow it’s time to make sure your three main characters—the protagonist, antagonist and stakes character—are all working together properly in a three-way triangle of conflict.A very common mistake in spec scripts is that there’s a clear main protagonist, but they But more than this, the stakes character is often missing too—a character who represents what’s at stake if the protagonist In order to strengthen a screenplay, it can sometimes be helpful to find answers to the following three questions:If you don’t have ready answers to these three questions, then there’s possibly an overall problem inherent in the script’s overall concept.Answering these questions, working out exactly who’s in your three-way triangle of conflict and figuring out what’s at stake for all three characters, should help you remedy these problems and really solidify your script’s core concept.When asked to define high stakes in a screenplay, most writers know that it involves making sure the main character has something to lose if they don’t achieve their goal.However, this can often feel vague when executed within a screenplay if the writer hasn’t set it within a Once it’s clear to the reader that the protagonist and antagonist are both locked in a struggle over what’s at stake—as personified by a stakes character—the core conflict will be clear and the story will feel that much stronger.Do you consider the stakes character when setting your protagonist and antagonist against each other? The main characters of their particular film, show, short, video game, and other media. They’re the “hero” who you want the audience to most identify with and hope their goal succeeds.The main protagonist is the first character to consider when forming the three-way triangle of conflict and will usually have a It should be clear to the audience that if they don’t, they risk either figuratively or literally dying.
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