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How to Write a Short Story: The Short Story Checklist

Rosemary Tantra Bensko and Sean Glatch  |  November 17, 2023  |  6 Comments

how to write a short story

The short story is a fiction writer’s laboratory: here is where you can experiment with characters, plots, and ideas without the heavy lifting of writing a novel. Learning how to write a short story is essential to mastering the art of storytelling . With far fewer words to worry about, storytellers can make many more mistakes—and strokes of genius!—through experimentation and the fun of fiction writing.

Nonetheless, the art of writing short stories is not easy to master. How do you tell a complete story in so few words? What does a story need to have in order to be successful? Whether you’re struggling with how to write a short story outline, or how to fully develop a character in so few words, this guide is your starting point.

Famous authors like Virginia Woolf, Haruki Murakami, and Agatha Christie have used the short story form to play with ideas before turning those stories into novels. Whether you want to master the elements of fiction, experiment with novel ideas, or simply have fun with storytelling, here’s everything you need on how to write a short story step by step.

The Core Elements of a Short Story

There’s no secret formula to writing a short story. However, a good short story will have most or all of the following elements:

  • A protagonist with a certain desire or need. It is essential for the protagonist to want something they don’t have, otherwise they will not drive the story forward.
  • A clear dilemma. We don’t need much backstory to see how the dilemma started; we’re primarily concerned with how the protagonist resolves it.
  • A decision. What does the protagonist do to resolve their dilemma?
  • A climax. In Freytag’s Pyramid , the climax of a story is when the tension reaches its peak, and the reader discovers the outcome of the protagonist’s decision(s).
  • An outcome. How does the climax change the protagonist? Are they a different person? Do they have a different philosophy or outlook on life?

Of course, short stories also utilize the elements of fiction , such as a setting , plot , and point of view . It helps to study these elements and to understand their intricacies. But, when it comes to laying down the skeleton of a short story, the above elements are what you need to get started.

Note: a short story rarely, if ever, has subplots. The focus should be entirely on a single, central storyline. Subplots will either pull focus away from the main story, or else push the story into the territory of novellas and novels.

The shorter the story is, the fewer of these elements are essentials. If you’re interested in writing short-short stories, check out our guide on how to write flash fiction .

How to Write a Short Story Outline

Some writers are “pantsers”—they “write by the seat of their pants,” making things up on the go with little more than an idea for a story. Other writers are “plotters,” meaning they decide the story’s structure in advance of writing it.

You don’t need a short story outline to write a good short story. But, if you’d like to give yourself some scaffolding before putting words on the page, this article answers the question of how to write a short story outline:

https://writers.com/how-to-write-a-story-outline

How to Write a Short Story Step by Step

There are many ways to approach the short story craft, but this method is tried-and-tested for writers of all levels. Here’s how to write a short story step by step.

1. Start With an Idea

Often, generating an idea is the hardest part. You want to write, but what will you write about?

What’s more, it’s easy to start coming up with ideas and then dismissing them. You want to tell an authentic, original story, but everything you come up with has already been written, it seems.

Here are a few tips:

  • Originality presents itself in your storytelling, not in your ideas. For example, the premise of both Shakespeare’s A Midsummer Night’s Dream and Ostrovsky’s The Snow Maiden are very similar: two men and two women, in intertwining love triangles, sort out their feelings for each other amidst mischievous forest spirits, love potions, and friendship drama. The way each story is written makes them very distinct from one another, to the point where, unless it’s pointed out to you, you might not even notice the similarities.
  • An idea is not a final draft. You will find that exploring the possibilities of your story will generate something far different than the idea you started out with. This is a good thing—it means you made the story your own!
  • Experiment with genres and tropes. Even if you want to write literary fiction , pay attention to the narrative structures that drive genre stories, and practice your storytelling using those structures. Again, you will naturally make the story your own simply by playing with ideas.

If you’re struggling simply to find ideas, try out this prompt generator , or pull prompts from this Twitter .

2. Outline, OR Conceive Your Characters

If you plan to outline, do so once you’ve generated an idea. You can learn about how to write a short story outline earlier in this article.

If you don’t plan to outline, you should at least start with a character or characters. Certainly, you need a protagonist, but you should also think about any characters that aid or inhibit your protagonist’s journey.

When thinking about character development, ask the following questions:

  • What is my character’s background? Where do they come from, how did they get here, where do they want to be?
  • What does your character desire the most? This can be both material or conceptual, like “fitting in” or “being loved.”
  • What is your character’s fatal flaw? In other words, what limitation prevents the protagonist from achieving their desire? Often, this flaw is a blind spot that directly counters their desire. For example, self hatred stands in the way of a protagonist searching for love.
  • How does your character think and speak? Think of examples, both fictional and in the real world, who might resemble your character.

In short stories, there are rarely more characters than a protagonist, an antagonist (if relevant), and a small group of supporting characters. The more characters you include, the longer your story will be. Focus on making only one or two characters complex: it is absolutely okay to have the rest of the cast be flat characters that move the story along.

Learn more about character development here:

https://writers.com/character-development-definition

3. Write Scenes Around Conflict

Once you have an outline or some characters, start building scenes around conflict. Every part of your story, including the opening sentence, should in some way relate to the protagonist’s conflict.

Conflict is the lifeblood of storytelling: without it, the reader doesn’t have a clear reason to keep reading. Loveable characters are not enough, as the story has to give the reader something to root for.

Take, for example, Edgar Allan Poe’s classic short story The Cask of Amontillado . We start at the conflict: the narrator has been slighted by Fortunato, and plans to exact revenge. Every scene in the story builds tension and follows the protagonist as he exacts this revenge.

In your story, start writing scenes around conflict, and make sure each paragraph and piece of dialogue relates, in some way, to your protagonist’s unmet desires.

4. Write Your First Draft

The scenes you build around conflict will eventually be stitched into a complete story. Make sure as the story progresses that each scene heightens the story’s tension, and that this tension remains unbroken until the climax resolves whether or not your protagonist meets their desires.

Don’t stress too hard on writing a perfect story. Rather, take Anne Lamott’s advice, and “write a shitty first draft.” The goal is not to pen a complete story at first draft; rather, it’s to set ideas down on paper. You are simply, as Shannon Hale suggests, “shoveling sand into a box so that later [you] can build castles.”

5. Step Away, Breathe, Revise

Whenever Stephen King finishes a novel, he puts it in a drawer and doesn’t think about it for 6 weeks. With short stories, you probably don’t need to take as long of a break. But, the idea itself is true: when you’ve finished your first draft, set it aside for a while. Let yourself come back to the story with fresh eyes, so that you can confidently revise, revise, revise .

In revision, you want to make sure each word has an essential place in the story, that each scene ramps up tension, and that each character is clearly defined. The culmination of these elements allows a story to explore complex themes and ideas, giving the reader something to think about after the story has ended.

6. Compare Against Our Short Story Checklist

Does your story have everything it needs to succeed? Compare it against this short story checklist, as written by our instructor Rosemary Tantra Bensko.

Below is a collection of practical short story writing tips by Writers.com instructor Rosemary Tantra Bensko . Each paragraph is its own checklist item: a core element of short story writing advice to follow unless you have clear reasons to the contrary. We hope it’s a helpful resource in your own writing.

Update 9/1/2020: We’ve now made a summary of Rosemary’s short story checklist available as a PDF download . Enjoy!

a short story protagonist

Click to download

How to Write a Short Story: Length and Setting

Your short story is 1000 to 7500 words in length.

The story takes place in one time period, not spread out or with gaps other than to drive someplace, sleep, etc. If there are those gaps, there is a space between the paragraphs, the new paragraph beginning flush left, to indicate a new scene.

Each scene takes place in one location, or in continual transit, such as driving a truck or flying in a plane.

How to Write a Short Story: Point of View

Unless it’s a very lengthy Romance story, in which there may be two Point of View (POV) characters, there is one POV character. If we are told what any character secretly thinks, it will only be the POV character. The degree to which we are privy to the unexpressed thoughts, memories and hopes of the POV character remains consistent throughout the story.

You avoid head-hopping by only having one POV character per scene, even in a Romance. You avoid straying into even brief moments of telling us what other characters think other than the POV character. You use words like “apparently,” “obviously,” or “supposedly” to suggest how non-POV-characters think rather than stating it.

How to Write a Short Story: Protagonist, Antagonist, Motivation

Your short story has one clear protagonist who is usually the character changing most.

Your story has a clear antagonist, who generally makes the protagonist change by thwarting his goals.

(Possible exception to the two short story writing tips above: In some types of Mystery and Action stories, particularly in a series, etc., the protagonist doesn’t necessarily grow personally, but instead his change relates to understanding the antagonist enough to arrest or kill him.)

The protagonist changes with an Arc arising out of how he is stuck in his Flaw at the beginning of the story, which makes the reader bond with him as a human, and feel the pain of his problems he causes himself. (Or if it’s the non-personal growth type plot: he’s presented at the beginning of the story with a high-stakes problem that requires him to prevent or punish a crime.)

The protagonist usually is shown to Want something, because that’s what people normally do, defining their personalities and behavior patterns, pushing them onward from day to day. This may be obvious from the beginning of the story, though it may not become heightened until the Inciting Incident , which happens near the beginning of Act 1. The Want is usually something the reader sort of wants the character to succeed in, while at the same time, knows the Want is not in his authentic best interests. This mixed feeling in the reader creates tension.

The protagonist is usually shown to Need something valid and beneficial, but at first, he doesn’t recognize it, admit it, honor it, integrate it with his Want, or let the Want go so he can achieve the Need instead. Ideally, the Want and Need can be combined in a satisfying way toward the end for the sake of continuity of forward momentum of victoriously achieving the goals set out from the beginning. It’s the encounters with the antagonist that forcibly teach the protagonist to prioritize his Needs correctly and overcome his Flaw so he can defeat the obstacles put in his path.

The protagonist in a personal growth plot needs to change his Flaw/Want but like most people, doesn’t automatically do that when faced with the problem. He tries the easy way, which doesn’t work. Only when the Crisis takes him to a low point does he boldly change enough to become victorious over himself and the external situation. What he learns becomes the Theme.

Each scene shows its main character’s goal at its beginning, which aligns in a significant way with the protagonist’s overall goal for the story. The scene has a “charge,” showing either progress toward the goal or regression away from the goal by the ending. Most scenes end with a negative charge, because a story is about not obtaining one’s goals easily, until the end, in which the scene/s end with a positive charge.

The protagonist’s goal of the story becomes triggered until the Inciting Incident near the beginning, when something happens to shake up his life. This is the only major thing in the story that is allowed to be a random event that occurs to him.

How to Write a Short Story: Characters

Your characters speak differently from one another, and their dialogue suggests subtext, what they are really thinking but not saying: subtle passive-aggressive jibes, their underlying emotions, etc.

Your characters are not illustrative of ideas and beliefs you are pushing for, but come across as real people.

How to Write a Short Story: Prose

Your language is succinct, fresh and exciting, specific, colorful, avoiding clichés and platitudes. Sentence structures vary. In Genre stories, the language is simple, the symbolism is direct, and words are well-known, and sentences are relatively short. In Literary stories, you are freer to use more sophisticated ideas, words, sentence structures and underlying metaphors and implied motifs.

How to Write a Short Story: Story Structure

Your plot elements occur in the proper places according to classical Act Structure so the reader feels he has vicariously gone through a harrowing trial with the protagonist and won, raising his sense of hope and possibility. Literary short stories may be more subtle, with lower stakes, experimenting beyond classical structures like the Hero’s Journey. They can be more like vignettes sometimes, or even slice-of-life, though these types are hard to place in publications.

In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape. In Literary short stories, you are free to explore uncertainty, ambiguity, and inchoate, realistic endings that suggest multiple interpretations, and unresolved issues.

Some Literary stories may be nonrealistic, such as with Surrealism, Absurdism, New Wave Fabulism, Weird and Magical Realism . If this is what you write, they still need their own internal logic and they should not be bewildering as to the what the reader is meant to experience, whether it’s a nuanced, unnameable mood or a trip into the subconscious.

Literary stories may also go beyond any label other than Experimental. For example, a story could be a list of To Do items on a paper held by a magnet to a refrigerator for the housemate to read. The person writing the list may grow more passive-aggressive and manipulative as the list grows, and we learn about the relationship between the housemates through the implied threats and cajoling.

How to Write a Short Story: Capturing Reader Interest

Your short story is suspenseful, meaning readers hope the protagonist will achieve his best goal, his Need, by the Climax battle against the antagonist.

Your story entertains. This is especially necessary for Genre short stories.

The story captivates readers at the very beginning with a Hook, which can be a puzzling mystery to solve, an amazing character’s or narrator’s Voice, an astounding location, humor, a startling image, or a world the reader wants to become immersed in.

Expository prose (telling, like an essay) takes up very, very little space in your short story, and it does not appear near the beginning. The story is in Narrative format instead, in which one action follows the next. You’ve removed every unnecessary instance of Expository prose and replaced it with showing Narrative. Distancing words like “used to,” “he would often,” “over the years, he,” “each morning, he” indicate that you are reporting on a lengthy time period, summing it up, rather than sticking to Narrative format, in which immediacy makes the story engaging.

You’ve earned the right to include Expository Backstory by making the reader yearn for knowing what happened in the past to solve a mystery. This can’t possibly happen at the beginning, obviously. Expository Backstory does not take place in the first pages of your story.

Your reader cares what happens and there are high stakes (especially important in Genre stories). Your reader worries until the end, when the protagonist survives, succeeds in his quest to help the community, gets the girl, solves or prevents the crime, achieves new scientific developments, takes over rule of his realm, etc.

Every sentence is compelling enough to urge the reader to read the next one—because he really, really wants to—instead of doing something else he could be doing. Your story is not going to be assigned to people to analyze in school like the ones you studied, so you have found a way from the beginning to intrigue strangers to want to spend their time with your words.

Where to Read and Submit Short Stories

Whether you’re looking for inspiration or want to publish your own stories, you’ll find great literary journals for writers of all backgrounds at this article:

https://writers.com/short-story-submissions

Learn How to Write a Short Story at Writers.com

The short story takes an hour to learn and a lifetime to master. Learn how to write a short story with Writers.com. Our upcoming fiction courses will give you the ropes to tell authentic, original short stories that captivate and entrance your readers.

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Rosemary – Is there any chance you could add a little something to your checklist? I’d love to know the best places to submit our short stories for publication. Thanks so much.

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Hi, Kim Hanson,

Some good places to find publications specific to your story are NewPages, Poets and Writers, Duotrope, and The Submission Grinder.

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“ In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape.”

Not just no but NO.

See for example the work of MacArthur Fellow Kelly Link.

[…] How to Write a Short Story: The Short Story Checklist […]

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Thank you for these directions and tips. It’s very encouraging to someone like me, just NOW taking up writing.

[…] Writers.com. A great intro to writing. https://writers.com/how-to-write-a-short-story […]

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The Write Practice

9 Key Elements of a Short Story: What They Are and How to Apply Them

by Sarah Gribble | 1 comment

If you're new to short story writing, it can be intimidating to think of fitting everything you need in a story into a small word count. Are there certain elements of a short story you'll need to know in order for your story to be great?

Writers struggle with this all the time.

elements of a short story

You might want to develop deep character backgrounds with a huge cast of characters, amazing settings, and at least two subplots. And that's great. But that wouldn't be writing a short story.

You might try to cut some of these things, and then all the sudden you don't have a character arc or a climax or an ending.

Every story has basic elements; a short story's basic elements are just more focused than a novel's. But all those elements must be there, and yes, they need to fit into a short word count.

In this article, you'll learn what you need to make sure your short story is a  complete  story—with three famous short story examples. These story elements are what you should focus on when writing a short piece of fiction.

The Key to Compelling Stories: It's NOT Dun, Dun, DUUN!

When I first started writing, I mainly worked on horror short stories. I wanted to create that dun, dun, DUUUN! moment at the end of all of them. You know the one. In the movies it's where the screen goes to black and you’re left feeling goosebumps.

I remember the first writing contest I entered (right here at The Write Practice!), I submitted a story that I thought was pretty decent, but didn’t really think would win.

I was right; it did not win.

But mainly I wanted the upgrade I’d purchased: feedback from the judge. She was great and told me my writing was good and tight, but there was one major issue with my story.

The dun, dun, DUUN!

I’d tried to cultivate actually meant my story just . . . cut off. There was no ending. There wasn’t even a complete climax. I got it ramped up and then just . . . stopped.

That feedback changed me as a short story writer. It made me really pay attention to what needed to be in a story versus what was unnecessary.

I studied short stories. I made note of what an author did and where. I basically taught myself story structure.

This may seem obvious, but a short story, even though it’s short, still needs to be a story.

So let’s start with the basics.

P.S. If you want to learn more about the five major steps you need to complete to write a short story, read this article .

What Is a Story?

I know a man who consistently tells stories during parties. (Sort of like this guy !)

He starts out well but then goes off on tangent after tangent, ultimately not really getting to any sort of point.

New people (re: characters ) are introduced, then dropped. New events are mentioned, but not resolved. By the time he gets to the end of his “stories,” eyes have glazed over and the “punchline,” as it were, falls flat.

What this man is telling is a short story, and he’s doing it terribly.

A story, no matter the length, can be boiled down to a character wanting something, having a hard time getting it, and finally either getting it or not.

Stories are actually simple when you look at the basics. This is why writing short stories will make you a better writer.

Short stories force a writer to practice nailing structure and pace. If you nail those things, you’ll be able to write stories of any length (and not bore people at parties).

And like novel-length stories, short stories contain certain elements in order to hold up the structure and pace.

For each story element below, I'll use three classic stories as examples:

  • Shirley Jackson's “The Lottery”
  • Edgar Allen Poe's “The Cask of Amontillado”
  • O. Henry's “The Gift of the Magi”

Take a few minutes to refresh your memory by clicking on the links of each, if you wish.

9 Key Elements of a Short Story

When it comes down to the elements of a short story, focus on nine key elements that determine if the short story is a complete  story or a half-baked one.

1. Character

Characters in books are well-drawn. There's a lot of time spent on character development and backstory. That's not needed for short stories.

Short stories need one central character and one or two other major characters. That’s about it. There isn't enough room to have a ton of characters and a story will veer away from the central plotline if a large cast is present.

The reader doesn't need to know everything about this character . They don't even need to know their physical appearance if it's not vital to the story. Your character traits in short stories can be so minimal, they don't even need a name.

This doesn't mean the protagonist is a static character who is basically a zombie on a couch. They still have to be a dynamic character, one that changes throughout the story.

When you're thinking of character creation for short stories, you don't need to dive into too much detail. Two to three character details are normally enough.

See how the three short story examples used in this article develop characters:

The Lottery

The main character is Tessie Hutchinson.

We don't know much about Tessie, other than she's unkempt and arrives late with a slew of jokes. You'll no doubt note here that this story has a lot of characters, not just two or three.

But notice only a few of the other characters are fleshed out much at all. The other characters of note here are:

  • Mr. Hutchinson
  • Mr. Summers
  • Old Man Warner.

The Cask of Amontillado

This short story has significantly fewer characters:

  • The main character

The Gift of the Magi

There are only two named characters:

  • Della, the main character
  • Jim, Della's husband

2. Want/Goal

The central character needs to want something—even if it’s a glass of water, as Kurt Vonnegut famously said. (They can also not want something. But they have to have an opinion either way.) The story is their quest to get said something.

Obviously, in real life people want multiple things, often at once and often in contrast to each other. But in a short story, the goal needs to be focused and relatively simple.

This want/goal is important to the story plot. This is what drives the character's decisions as they move throughout the space of your story. The goals in the short story examples are:

Tessie, as with every other person who shows up at the lottery, doesn't want to get chosen.

Montresor wants revenge for an insult Fortunato threw his way while drunk.

Della wants to give her husband a Christmas gift.

3. Conflict

Obstacles and complications need to make the protagonist's journey hard, and these types of conflicts should raise the stakes as the protagonist tries to achieve their want/goal.

In books, multiple things need to get in the way of the character completing the goal, but in short stories, there can be as little as one central conflict .

Conflict stems from the antagonist, whether that’s an external baddie (character conflicts with each other), an internal issue, forces of nature, or society being against them. Here's how conflict works in our three examples:

The Lottery 

Tessie conflicts with the other townsfolk, her husband (who is more rule-abiding than she is), and the overall way of life the lottery is forcing.

The main conflict is this supposed insult Fortunato made to Montresor. Interestingly, even though this story is a rather brutal revenge story, there isn't much surface conflict happening.

Fortunato essentially walks to his own death without much protest. Montresor also goes through an internal conflict toward the end when he hesitates, only for a moment, over what he is doing.

The Gift of the Magic

Della has a more straightforward conflict with poverty: she's only got a dollar or two and wants to buy a nice gift for her husband.

4. Decisions

If characters sit around watching the world go by, there's no story plot. A character needs to make decisions at every turn to drive the story forward.

Your want/goal is the reason behind these decisions, but the conflict is what's driving the need to even make them.

Let's go back to Vonnegut's idea of a character wanting a glass of water (goal).

Say that character was lost in the desert (conflict). They'd do anything to get a glass of water, wouldn't they? That glass of water is the primary source of them living right at that moment, and everything revolves around that.

They're not going to make a move without it being in service of that ultimate goal.

In short stories, the protagonist's main goal is the driving force behind their decisions for the few thousand words we spend with them.

Among the decisions made in the three example stories are these:

Tessie decides to protest the results of the lottery in the hopes of not getting stoned to death.

Montresor decides to keep walling up Fortunato after his slight hesitation over whether this was really a good idea to get his revenge.

TheGift of the Magic

Della decides to cut her hair off and sell it in order to afford a gift.

This is the element of most stories that’s missing when someone tells a boring story at a party. This is the exciting part, the punchline, the ultimate point of the entire story.

This is where the character goes up against the baddie in a final showdown and either wins or loses. This is the ultimate answer to the What If Question we talked about before.

The climax for each of our examples is:

Tessie “wins” the lottery and fights the results (to no avail).

Montresor chains Fortunato in the wall and he realizes what's happening to him.

Della and Jim give each other the gifts and realize those gifts are currently “pointless” because each of them sold what they would use the gift for.

The ending is short, often only a couple of sentences in a short story. This is where everything is wrapped up.

It follows the climactic fight and winds down the remaining character and plot points, letting readers breathe and showing them what comes next for the character. (This is not the time to dun, dun, DUUN !)

This is often missing in short stories.

Ambiguous endings are fine, but the writer  must  give a glimpse of what happens to the main character.

Tessie is stoned to death so the townsfolk can go back to their normal lives.

Montresor decides to keep on sealing Fortunato behind the wall, despite the feeble protests from the man.

Della and Jim realize they really gave each other the gift of love and go about their Christmas.

When you encounter conflict in real life, you make decisions, which lead to change . It’s the same for the characters.

They change throughout this little adventure they’re on, and so do their circumstances.

If they’re in the same place at the end of the story they were at the beginning, did anything even happen?

Tessie's change is pretty obvious: she's dead. Before that, though, she changes from joking and disregarding this weird tradition to getting very scared and angry very quickly.

Montresor is freed from his irksome frenemy, and also knows a little bit more about himself and what he's capable of.

Della and Jim realize the true gift wasn't anything that could be bought and are happy with the love they've shared rather than worrying about material things.

8. Point of view (POV)

Choose one point of view and stick to it.

This is essential in a short story. You do not have enough room to go head-hopping or switching points of view with each paragraph.

You want your reader to be with your character the whole time, otherwise they will lose interest.

If you need a point of view refresher, read this article .

Here's the point of view in each of the short story examples:

Third-person omniscient

First person

Third-person limited

Even short stories should have a decently drawn setting .

This is tricky because, again, you don’t have room to be describing every little thing.

You’ll need to weave in the setting as you tell the story and stick to the essentials.

Notice the three example stories have something in common: a rather ambiguous setting.

We know Tessie lives in what seems to be an agrarian small town. We don't know where, what time period, or why the lottery exists.

Our wine lovers in “The Cask of Amontillado” are mostly in the family crypt.

We know Della and Jim live in a small, run-down apartment. We don't know where or when.

The reader doesn't know much about the setting in any of these stories, but they don't need  to know much. The plot hums along just fine without all those details.

What a Short Story is Not

It's often the case that the writer lets the muse take over when story writing.

In this case, what ends up on the page is often flowy sentences that sound profound and a “story” that sounds more like the ramblings of poor Fortunato.

It's fine to let a story writing get loose and to play with language. Innovation is experiementation.

But when a writer does this, it's often not truly a short story, or a story at all. It might be profound. It might be quote-worthy.

But it also might not be a story.

A short story is not:

  • Short stories are not poems . Poetry doesn’t have the burden of having to tell a story (though it can, I know that, so don’t come at me). Short stories are stories with story structure. You can write them with poetic language, but there must be a story in there.
  • Short stories are not plotless . Stream of consciousness is a great way to write morning pages, to get in the mood to write, to journal, etc. It’s not a great way to write a short story. Again, short stories are stories. They have to have a plot.
  • Short stories do not have subplots . Remember that guy I talked about at the beginning of this article? When he went off on tangents, he was getting into subplot territory. There is no room in a short story for subplots.

Stick with one major event that’s happening to one main character.

A Note on “Rules”

I’ve been working with writers long enough to know that some of you reading this article are telling me off, especially with the last section.

I get it. You want to be creative. You want to follow your muse.

You want to do what I’ve just told you not to do.

Here’s the thing: rules are meant to be broken. I will give you that.

If you want to experiment and find a way to insert a new subplot and resolve it in every paragraph, do it. But in order to break the rules, you need to master them first.

Start by including each of these story elements in your  short story.

When you can ensure you have each story element consistently, then you can get crazy.

Which element do you need the most practice on? Tell us in the comments .

Revisit a short story you've written. Take fifteen minutes to analyze the story.

Look for each of these nine elements. Choose one missing element and add it. (If one isn't missing, then choose one element to beef up.)

When you’re finished, share your work in the Pro Practice Workshop .  Not a member yet? Join us here !

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Sarah Gribble

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a short story protagonist

Protagonist

a short story protagonist

Protagonist Definition

What is a protagonist? Here’s a quick and simple definition:

The protagonist of a story is its main character, who has the sympathy and support of the audience. This character tends to be involved in or affected by most of the choices or conflicts that arise in the narrative. For example, Snow White is the protagonist of Snow White and the Seven Dwarfs .

Some additional key details about protagonists:

  • A protagonist can be present in any form of art that contains characters and a story: novels, films, poems, dramas, operas, etc. Most stories contain one protagonist. However, if a narrative contains a subplot or several different stories, it's possible for each story to contain its own protagonist.
  • Protagonists aren't always "good"—many are dishonest or even criminal—but they always have the sympathy and support of the audience.
  • The opposite of the protagonist is the antagonist : a character that opposes or thwarts the main character. Not all stories that have protagonists also have antagonists.

Protagonist Pronunciation

Here's how to pronounce protagonist: pro- tag -uh-nist

The Evolution of Protagonist

The term protagonist originally referred to the character who engaged with the chorus in Ancient Greek tragedies (the chorus is a group of actors who recite their lines in unison and represent "the masses," or the general public). However, the definition expanded over time. Sophocles was one of the first Ancient Greek playwrights to put more than two characters on stage, and thus further expanded the definition, bringing its meaning closer to our modern definition: the main character among many characters who appear within a story.

Types of Protagonist

Most protagonists fit into one of the following four protagonist types: heroes, antiheroes, villain protagonists, and supporting protagonists.

  • Hero/Heroine: A hero or heroine (that is, a female hero) is a character in a literary work who overcomes a profound struggle or conflict to achieve some sort of success because of their own perseverance, bravery, or intelligence. Heroes often have to make sacrifices along the way, always for the greater good and not for personal gain. In contemporary literary works that aim for realism, it's common to find heroes with more complicated personalities, or heroes who aren't "perfect," as the heroes of classical literature often seem to be. Sometimes people use the terms "hero" and "protagonist" interchangeably, but this isn't correct. A hero is just one type of protagonist. Not all protagonists are heroes.
  • Antihero/Antiheroine: An antihero is a type of protagonist that might lack the qualities found in archetypal heroes. Unlike contemporary heroes, who might have a few flaws in order to seem realistic, the antihero is distinctly unlike the hero in that they are often revealed not to have moral or particularly noble intentions. They tend to act on behalf of their own self-interest, but they aren't wholly corrupt or immoral, like a villain.
  • Villain Protagonist: Unlike the hero and antihero protagonists, the villain is unequivocally the "bad guy," devoted to evildoing. Often a story's villain is the antagonist (the character working against the protagonist); however, villains can also be protagonists when they are the main character driving the story forward and have the audience's sympathy.
  • Supporting Protagonist: A supporting protagonist is less common than the other types of protagonists. When a supporting protagonist does appear, it's often when a story is told from the perspective of a seemingly minor character in the story. There may be a character in the story who seems more important or who experiences more of the "main action," but the supporting protagonist's otherwise minor role in the story becomes more important because the story is told from their perspective.

How to Identify the Protagonist of a Story

It's often relatively simple to identify the protagonist. But in some stories it can be more difficult, particularly if a narrative is complicated by multiple sub-plots or contains many characters with important roles. Some of the most common situations that can make it a bit more complicated to identify the protagonist of a story are:

  • The protagonist doesn't get the most "time on stage": In this situation, another important character appears more often in the narrative, but that character is still not the focus of the audience's sympathy. For instance, in Sophocles' tragedy Antigone , the king (Creon) decides to punish a man who died fighting on the losing side of a civil war by leaving him unburied in a public place, which would mean that his body would not be sanctified by the gods. The man's sister, Antigone, defies Creon and buries her brother anyway, so Creon orders her to be placed in a tomb and buried alive. While in the tomb, Antigone hangs herself, and the rest of the play focuses on the aftermath of her death, which inspires multiple other suicides. Creon is ultimately on stage for far more of the play than Antigone. However, it is Antigone whose actions seem righteous wins the audience's sympathy, and whose death (as well as the deaths it causes) makes the play a tragedy, so Antigone would be the obvious protagonist here. Another clue, of course, is that the play is titled after her.
  • Multiple protagonists: While most stories will only have one protagonist, it's possible for stories to contain more than one—particularly when multiple subplots are woven into one larger narrative. For instance, Tolstoy's novel War and Peace chronicles the history of the French invasion of Russia in 1812 through the narratives of five different families, with fifteen major characters, who receive approximately equal attention. In part because of this lack of a single protagonist, Tolstoy maintained that War and Peace was not actually a novel. It's not a book about one story or one person's life, like a traditional novel—rather, it's a book about war and peace. While War and Peace is an extreme example, it is possible for other books to contain a few protagonists from a few different subplots (and to still qualify as novels).
  • False Protagonists: A "false" protagonist is a technique in which an author introduces a character who seems to be the protagonist but is later revealed to not be. For instance, the horror film Arachnophobia opens by following a nature photographer through the Amazon rainforest. The photographer appears to be the story's protagonist, but only 10 minutes into the film, a spider crawls into his sleeping bag and bites and kills him. The photographer's body is shipped back to the US for burial with the spider still in the coffin. Upon arrival, the spider finds its way into the barn of a man named Ross Jennings, who becomes the film's protagonist, since it's his predicament (a barn full of deadly spiders) that drives the story forward. By the time the film ends, the audience has completely forgotten about the false protagonist (the photographer), but the jolt given by the death of that seeming protagonist sets up the thrilling suspense that fills the rest of the movie.

Protagonist vs. Antagonist

In order to better understand what makes a character a protagonist, it's helpful to also understand its opposite: antagonist. The antagonist is most often the protagonist's opponent in the story—such as a villain in a superhero movie, or the high school bully in an 80s teen movie.

The Protagonist and Antagonist in Stephen King's Misery

In Stephen King's Misery , a writer named Paul crashes his car on his way to Los Angeles, shattering both of his legs. He's found by a woman, Annie, who takes him to her house to nurse him back to health. Annie reveals herself to be one of Paul's biggest fans, and it gradually becomes clear that she's mentally disturbed and dangerous. Paul tries to escape a few times, but Annie always catches him and punishes him brutally (cutting off a finger and a foot). Annie is the book's antagonist.

King writes an extensive backstory on Annie, so her motivations are clear and her character isn't entirely impossible to relate to—and indeed, some readers might even pity her. In a way, she could be said to be the most multi-dimensional character in the book, but she still is not the protagonist. Paul is the novel's protagonist because its plot hinges on his fate, and the question of whether or not he will make it out alive. In other words, Paul is trying to carry out a series actions to move the plot forward (drive to LA, recover from his injuries, escape from the deranged Annie), while Annie is trying to stop Paul (with imprisonment, torture, threats), making her the antagonist.

Protagonist Examples

Nearly every story has a protagonist, so there are countless examples to choose from. Below we've provided an example of each of the four main protagonist types: heroes, antiheroes, villain protagonists, and supporting protagonists.

Example of a Hero Protagonist in Beowulf

The epic poem Beowulf is one of the oldest surviving pieces of literature in the English language and its protagonist is an example of a traditional epic hero: he is relentlessly strong, brave, and just. The poem tells the story of Beowulf's bravery in battle against a monster named Grendel, who threatens to destroy the Danes. Later, Beowulf also risks his life to slay Grendel's mother, as well as a fire-breathing dragon. He sustains a fatal injury while fighting the dragon, but doesn't die until he has claimed victory and ensured the people's safety. The story closely follows Beowulf and his strength in battle, only mentioning others as necessary to better tell Beowulf's story, so there is no doubt Beowulf is the protagonist.

Example of an Antihero Protagonist in The Catcher in the Rye

In J.D. Salinger's novel The Catcher in the Rye , a teenage boy, Holden Caulfield, has been expelled from multiple boarding schools and seems on the verge of being expelled from his current one. The novel follows the lonely, angry Holden as he abandons his school and wanders around New York City and searches for some form of companionship or comfort. Holden isn't a courageous character (he admits to being "yellow," or cowardly), nor is he honest (he perpetually lies), or strong (he admits to being weak). He's not terribly moral (he hires a prostitute) or tough (he ends up getting beaten up by her pimp). Holden dreams of being a hero—a "catcher in the rye," who saves kids from danger—but even that dream is based on him misunderstanding a classic poem. Put all together, Holden lacks the traditional attributes of a hero and is instead a teenage antihero. Nonetheless, Holden holds the audience's sympathy throughout the book (and many teenagers identify with him precisely because he is an antihero) and drives the plot, and is therefore the protagonist.

Example of a Villain Protagonist in Despicable Me

The protagonist in the animated film Despicable Me is Gru, a self-described villain. The plot hinges on Gru discovering that another villain is planning to steal the Great Pyramids of Giza, which makes Gru jealous, so he tries to thwart his rival's plan and pull off an even bigger evil plot (stealing the moon). Along the way, Gru does seemingly kind things (he adopts three orphaned girls, for instance), but always for the sole purpose of achieving his villainous goals (he thinks they can help him break into his rival's compound). While Gru does grow and change over the course of the story (he comes to love the girls he initially adopts and saves them from his rival), he never actually gives up being a villain. Still, Gru always has the sympathy of the audience and his actions and desires drive the story forward.

Example of a Supporting Protagonist in Sherlock Holmes

Arthur Conan Doyle's Sherlock Holmes is a brilliant private detective with astonishing powers of deductive reasoning. But Doyle's stories about him are narrated not by Holmes, but rather by Holmes' "sidekick," Dr. Watson. Watson, then, acts as a supporting protagonist in these stories. It's through Dr. Watson's voice and perspective that the audience is told Holmes' life story. Even though the stories follow the actions of Holmes, the fact that Dr. Watson is delivering this narrative makes him as essential to the story as Holmes himself. He is a supporting protagonist because he is at the center of the story, even though the story isn't about him.

What's the Function of a Protagonist in Literature?

Without protagonists, most stories would seem to be lacking a plot. Protagonists are one of the key building blocks of a narrative, so the vast majority of stories have at least one. Here are a few reasons why protagonists are so important to stories:

  • When a story has one central figure for an audience to follow, the story feels more cohesive. This character tends to tie together all of the story's elements.
  • A protagonist tends to make a story more compelling, as the protagonist is the character that the audience relates to and cheers on through conflict of the plot.
  • Because the story revolves around the protagonist, it's usually through this character that the audience discovers the story's central themes. The protagonist might be the champion of a particular cause or idea, or they might experience a realization that becomes the main subject and focus of the story.

Other Helpful Protagonist Resources

  • The Wikipedia Page for Protagonist : A helpful overview, with a few helpful examples.
  • The Dictionary Definition for Protagonist : A basic definition that's very light on examples.
  • Why Your Protagonist Might Not Be Your Hero : This short video explains why all protagonists are not heroes.
  • A Villain Protagonist in Action: Gru explains his plan to pull off the "true crime of the century" to his minions.

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Top 10 Protagonist Examples from Literature and TV

Study these 10 classic protagonist examples to understand this type of character for your stories

In fiction writing, every story has a protagonist and an antagonist. The word protagonist comes from the Greek word agōnistēs, which means a person who is engaged in a contest or struggle. It is that contest or struggle that makes the story work. Literature has three main types of protagonists. These are:

Heroic protagonist: This is the main character of the story who is the good guy throughout. They often must follow a hero’s journey from rags to riches or from fear to courage.

Villain protagonists: Sometimes the protagonist is also the villain. This can confuse the reader at first, but as the story unfolds, the villain’s motivations and psychology play a central role in the story. Often the villainous protagonist ends up being a hero in some form, even though they appear evil at first. This type of protagonist is also called an antihero.

False protagonist: Finally, a false protagonist is a character who seems to be the protagonist at the start of the story, yet usually ends up dying or disappearing as the real protagonist comes to light. This literary tactic has a jarring effect on the reader, which can be quite powerful.

Studying protagonist examples is the best way to understand this literary element or term. Here are 10 well-known examples from television and literature.

2. Harry Potter

3. luke skywalker, 4. frodo baggins, 5. holden caulfield, 7. sherlock holmes, 8. walter white, 9. the grinch, 10. marion crane.

Top Protagonist Examples

In William Shakespeare’s play Hamlet , the opening scene clearly shows that the depressed, angry Hamlet is the protagonist. As Helmet uses the power of speech to make others feel that he has gone insane, he contemplates murder to take back the thrown. However, because this is a tragedy, his plans go awry, and Hamlet himself, along with many royal family members, ends up dying.

Hamlet is an antihero in many ways because his mental health issues cause him to contemplate and even attempt heinous crimes. Yet because Shakespeare treats him as the main character had the play focuses on him and his actions, he remains the protagonist. Throughout the play, Shakespeare points out the tragic flaw of Hamlet’s character, which is procrastination and indecisiveness. Because he fails to take action, he ends up dying and taking down his enemy in his last moments.

In J.K. Rowling’s Harry Potter series, Harry himself is the main protagonist as the series focuses on him and his growth from boy wizard to conquering hero. Harry and his friends, Ron and Hermione, spend the majority of the books fighting Lord Voldemort, their sworn enemy and the creator of much of the havoc in the stories.

Harry is a character with a strong moral campus and feeling about what is right and wrong, even though his aunt and uncle who raised him had no love for him. He is humble throughout the books and selflessly gives his life in the end to save his friends. He overcomes major obstacles in order to find success throughout the stories, as well.

Protagonist Examples: Luke Skywalker

The original Star Wars trilogy centers around the journey of Luke Skywalker as he embraces his role as a Jedi Knight. He learns of his heritage as the son of Darth Vader, his sworn enemy, and the existence of a twin sister, Princess Leia. He also teams up with the renegade Han Solo to defeat Vader and the Empire successfully.

Skywalker is a typical protagonist who follows a hero’s journey throughout the movie. He starts as someone who is an orphan from tragic circumstances, learns of his important destiny, then rises to the occasion after meeting a rag-tag team of potential heroes. In the end, this unlikely hero and his friends take down the Empire.

Learn more about movies that follow the hero’s journey

In The Lord of the Rings , hobbit Frodo Baggins becomes the central main protagonist. He is gifted the One Ring from his cousin, Bilbo Baggins, and must go on a quest to destroy it before it destroys him. He suffers many wounds throughout his journey and must grow in his own character as he learns what it means to be selfless and courageous, two traits that are not common for hobbits.

While the main antagonist in the story is Dark Lord Sauron, Frodo must also fight his own self and his selfish, sometimes lazy tendencies. To find victory in the story, he must find victory over these character faults. This struggle and his character development through the stories is part of what makes him such a compelling example of a protagonist.

Holden Caulfield is an interesting protagonist because he is also the main antagonist of his story. He is the central character of The Catcher in the Rye , and throughout the story, he struggles to find a connection even while his own character flaws and general mistrust of others keep him from finding it. He is the narrator of the story as he recounts a week in New York City during Christmas break in the 1940s.

After being expelled from preparatory school, Holden embarks on a journey to figure out the angst and agitation he feels. This emotional story first came on the literary scene as a series of short stories, and it remains one of the best-known works of literature in modern times.

Othello is the main character in another William Shakespeare play by the same name. Othello works against the protagonist Iago. Othello is an elegant, powerful figure that the people in the story love and respect, except for Iago.

Iago tries to get Othello to believe his wife, Desdemona, is being unfaithful in this play. In the end, Othello believes the deception and kills his wife, only to discover the falsehood and try to kill Iago. Because this is a tragedy, Othello takes his own life at the end of the story, but Iago also receives punishment for his actions.

Protagonist Examples: Sherlock Holmes

Detective Sherlock Holmes is a good example of a classic protagonist. The detective spends most of his books solving crimes using deduction, observation, and logical reasoning. He often works for the Scotland Yard and also private clients, and he is the best-known fictional detective in literary history.

The Holmes stories have a supporting protagonist as well, Dr. Watson. Watson narrates many of the stories and shows the unique way that Holmes’s mind works. He also has a villain, Professor James Moriarty, who is the criminal mastermind he often comes across in his work.

Walter White is an antihero protagonist from television fame. He is the protagonist of the crime drama television series Breaking Bad. He falls into the evil side when he is diagnosed with fatal lung cancer and begins to make and sell meth to secure his family’s financial future.

Because the series focuses on Walter and his actions, he is the protagonist. Though his motives may be pure, a desire to help his family, he is somewhat villainous because he is breaking the law to gain his fortune. This makes him a villainous protagonist example.

The Grinch of Dr. Suess fame is a great example of a villain protagonist. At the start of the story, The Grinch is looking to destroy Christmas for the Whos down in Whoville, who like Christmas a lot. His tiny heart is the motivation for this villainous action.

Yet The Grinch undergoes a tremendous change through the pages of this picture book. As he learns that the true meaning of Christmas is not ribbons, bows, and presents, he embraces the holiday and even gets to carve the roast beast. Few characters are quite as iconic to the Christmas season as The Grinch.

In the 1960 Alfred Hitchcock movie Psycho , the first 30 minutes tell the tale of what appears to be the protagonist, Marion Crane. Yet after this detailed first part of the movie that makes the watcher feel a tremendous amount of sympathy for the character, the infamous shower scene occurs, and she suffers a brutal murder. This makes her one of the best examples of a false protagonist .

The true protagonist in Psycho is Norman Bates, the film’s villain. His relationships with Marion and his own mother are the true theme of the story. Though he is psychologically manipulative and evil, he is the main character of the story despite Hitchcock’s initial focus on Marion.

a short story protagonist

Nicole Harms has been writing professionally since 2006. She specializes in education content and real estate writing but enjoys a wide gamut of topics. Her goal is to connect with the reader in an engaging, but informative way. Her work has been featured on USA Today, and she ghostwrites for many high-profile companies. As a former teacher, she is passionate about both research and grammar, giving her clients the quality they demand in today's online marketing world.

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protagonist

What is protagonist definition, usage, and literary examples, protagonist definition.

The protagonist (pro-TAG-uh-nist) is the main character in a story. Also called the central character, focal character, primary character, or hero, the protagonist plays a key role in a narrative ’s development because the story revolves around them. They encounter some internal or external conflict that drives the plot , and they tend to experience transformative change that incites the climax and resolves the narrative.

The word protagonist originated from Greece, as the prōtagōnistēs was the actor of primary importance in a dramatic performance. The word has since evolved to refer to the central character in any narrative.

How to Identify the Protagonist

Determining the protagonist is generally easy. Most stories use common cues to signal the main character, such as the title, point of view , characterization , or exposition that clearly establishes character roles.

These narrative characteristics can help readers identify the protagonist.

  • The protagonist exists at the center of the story; the book’s narrative is the protagonist’s narrative.
  • The protagonist faces conflict that forms the foundation of the plot (which often manifests through an antagonist who directly opposes the protagonist).
  • The protagonist has goals and makes decisions to achieve those wants or needs.
  • The protagonist’s decisions have consequences on the plot, whether good or bad.
  • The protagonist transforms because their choices and experiences, and they end the story in a different place than where they started.

However, it’s a common misconception that these cues always identify the protagonist. Take characterization. While heroic traits like integrity, courage, and selflessness typically indicate the protagonist, antiheroes and villain protagonists can defy this trend by embodying these characteristics. Consider Humbert Humbert, the protagonist narrator in Lolita who is neither heroic nor admirable. Or take Less by Andrew Sean Greer. Although Arthur Less is the protagonist and titular character, the story is narrated by his lover Freddy.

Types of Protagonists

Most protagonists fall into one of these categories: heroes, antiheroes, villains, supporting protagonists, false protagonists, and rotating protagonists.

The hero is the traditional, conventional protagonist. This class of protagonist can be divided into subcategories, like the classic hero and the tragic hero .

The classic hero, for example, is inherently good. They display honorable virtues like bravery, integrity, and righteousness, and they’re altruistic, striving for the greater good and pursuing selfless goals. Jane Eyre by Charlotte Brontë features a classic heroine.

The tragic hero shares many of these traits, but they meet a tragic end typically prompted by a mistake or personal flaw. Shakespeare’s Hamlet stars a tragic hero.

These protagonists defy the audience’s expectations. They typically do the right thing but for the wrong reasons, and while they display many character flaws, some goodness exists at their core. Like heroes, antiheroes take many forms. An antihero may be disreputable, cowardly, and selfish, or they can be a reluctant hero, a generally good but cynical person who avoids conflict until it affects them personally.

Jeff Lindsay’s Dexter Morgan crime thriller series features an antihero protagonist in Dexter, a vigilante serial killer who targets other murderers. Tony Soprano—a corrupt, murdering crime boss who is undeniably dedicated to his family—is another famous antihero from pop culture.

While villains typically fulfill roles as antagonists or secondary characters, some villains are protagonists in their own stories. Like antiheros, villains embody traits that contrast with a traditional hero. Unlike antiheroes, villains do bad, even evil, things for ignoble reasons.

Writing a villain protagonist can be tricky, as writers typically want readers to connect with their main character. But a skillful writer will have readers waiting eagerly for a villain protagonist’s demise. The aforementioned Humbert Humbert is one such example, and the comics industry routinely turns villains into stars of their own books, including titles like Suicide Squad , Thunderbolts , and Superior Spider-Man .

Supporting Protagonists

These protagonists play a supporting role in another hero’s story. In a conventional narrative framework, supporting protagonists would appear as secondary characters. To Kill a Mockingbird exemplifies this protagonist type; although Scout is the main character, her father Atticus Finch is the story’s true hero.

False Protagonists

These are presented as protagonists only to be revealed as some other character type. A false protagonist may serve as the focal character for the first chapter only to die, or they may turn out to have been an antagonist all along.

The movie Psycho features the best-known example of a false protagonist. Marion Crane serves as the central character until 47 minutes into the film, at which point she is brutally murdered. Storytellers structure narratives this way to stun the audience, dash expectations, and heighten the drama.

Rotating Protagonists

This refers to several characters who serve as the central character in turns. By having multiple protagonists, writers can focus on different characters and plotlines in different chapters, arcs, or episodes.

This is common in stories that shift between the points of view of two main characters, such as Everything, Everything , a young adult novel by Nicola Yoon that features co-protagonists. Rotating protagonists also feature in works with larger ensemble casts, like G. R. R. Martin’s Song of Ice and Fire series, or shows like Stranger Things or The Wire .

Protagonists and Related Literary Devices

Because protagonists play such a key role in stories, they’re connected to several related literary devices and character types.

Antagonists

Antagonists oppose the protagonist. When a story features an antagonist, they’re the character, group, or force that instigates the main conflict , typically by challenging, obstructing, or confronting the protagonist. The word antagonist stems from the Greek antagonistēs , meaning “opponent, competitor, or rival.” Like protagonists, this character type has roots in classical dramas.

Deuteragonists

Another character type with origins in ancient Greek drama, the deuteragonist is the second most important character in a narrative. After the protagonist, they have the most relevance and influence on the plot . Deuteragonists often appear as sidekicks, companions, love interests, and even antagonists.

Foils are characters who contrast with one another to emphasize the differences in their characterization and story arc. Because the protagonist is the most important character in a story, it’s essential that readers clearly understand their traits, values, goals, and desires. So, foils are often developed in contrast with the protagonist to clarify and accentuate the latter’s personality and plotline.

The narrator is the character who tells the story. Narratives told from the first- person point of view are often recounted by the protagonist, who shares their thoughts, perceptions, and experiences directly with the reader. However, just because a character is narrating the story doesn’t mean they’re the protagonist; secondary characters can also narrate the story. Heart of Darkness by Joseph Conrad uses an anonymous narrator to frame protagonist Charles Marlow’s experiences in the Congo.

Some flavors of character recur so frequently that they become archetypes . Many types of protagonists exhibit archetypical characteristics, such as heroes, villains, boy or girl wonders, and the everyman.

Functions of Protagonists

Protagonists give a narrative forward momentum. They begin a story in one place and typically end up in other. During their journey, they are impeded by some conflict , challenge, or obstacle that gives the plot its basis. In confronting and overcoming this conflict, the protagonist carries the narrative through to its resolution. The protagonist’s traits, goals, and motivations influence how the story unfolds, and their choices directly affect the primary plot beats, especially the climax.

Because the protagonist exists at the heart of the story, their characterization plays a crucial role in hooking the reader’s interest and sympathy. When the reader cares about the main character, they become invested in their story and are more likely to read through to the conclusion. This is why so many memorable protagonists are round or dynamic characters; nuanced characterization reflects the personalities of real people, as does the ability to learn, grow, and change. A capacity for depth and transformation makes a character more realistic and authentic.

Protagonists often serve as viewpoint characters, meaning the story is told from their point of view. This is another strategy writers use to help readers relate to the main character. Allowing the reader to experience the protagonist’s perspective both emphasizes and personalizes their narrative dilemma and motivation.

But as we discussed, not all stories are narrated by the protagonist. Using a secondary character as the narrator can be an effective technique. It positions the protagonist at a remove from the reader, concealing their perceptions and thought processes, perhaps to create an air of intrigue or mystery. This also allows the reader to perceive the protagonist from an outside perspective.

Protagonists in Pop Culture

Audiences encounter all types of protagonists in pop culture, especially in movies and TV shows. These are just a few iconic examples.

Ellen Ripley from the Alien film series exemplifies the action heroine. She is introduced as a warrant officer on the spaceship Nostromo —a voice of reason and a team player but ostensibly an ordinary woman. After the crew encounters an unknown alien creature, Ripley emerges as the only survivor due to her determination, shrewd strategizing, bravery, prudence, and even her maternal instincts.

Han Solo is a classic antihero. When he debuts in the film Star Wars: A New Hope , he’s an irritable rogue who’s motivated purely by self-interest. He only agrees to rescue Princess Leia after Luke Skywalker entices him with the promise of a financial reward.

Breaking Bad protagonist Walter White exemplifies the villain protagonist. His story begins with good intentions—he manufactures methamphetamine to secure his family’s financial security in light of his impending death from cancer. But as the story progresses, Walt is seduced by his success and becomes a criminal kingpin, transforming into the show’s main villain.

Examples of Protagonists in Literature

1. William Shakespeare, Richard III

Richard III is one of Shakespeare ’s most famous historical plays and features one of the Bard’s most iconic villain protagonists. Based on real events in late 15th-century England, the play depicts the brief reign of King Richard III. The titular character confirms his villainous nature from the outset:

I am determined to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
In deadly hate, the one against the other

From this very first scene, which establishes the protagonist as deceitful, treacherous, and manipulative, Richard III proceeds to conspire against his brothers, orchestrating Machiavellian schemes to claim the throne and rule with impunity.

2. Imre Kertész, Fatelessness

This semiautobiographical novel follows Georg Köves, named György “Gyuri” Köves in the original Hungarian, as he is thrust into the horror of the Holocaust. Just 14 years old when he’s placed on a train to Auschwitz, Georg is an example of an innocent protagonist, a main character—usually a child—who is pure, naïve, and inexperienced.

The novel details how Georg’s innocence is irrevocably tarnished by all he endures and witnesses. Georg narrates his own story here, using the first-person point of view, which gives readers an unobstructed view of his struggle to find meaning in the atrocity of the Holocaust.

3. Karen M. McManus, One of Us Is Lying

One of Us Is Lying is a young adult suspense thriller that features an ensemble cast of rotating protagonists. The novel begins after five students enter detention one afternoon but only four emerge alive after Simon Kelleher dies of an allergic reaction from ingesting peanut oil. The novel shifts between four point-of-view characters—Bronwyn, Nate, Addy, and Cooper—as they grapple with the aftermath of Simon’s murder.

By dividing the narrative into four distinct perspectives, McManus raises the tension of the murder mystery and develops each protagonist beyond their superficial archetypes , highlighting the consequences of stereotypes .

Further Resources on Protagonists

Protagonists are driven by goals, which stem from a want or a need. This short video essay uses pop culture examples to explore the relationship between wants, needs, and character development.

This chapter excerpted from Dramatica: Theory of Story discusses the theory behind different character types , including protagonists and antagonists.

Related Terms

  • Characterization
  • Deuteragonist
  • Point of View

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What is a Protagonist? Definition, Examples, and Tools

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by Fija Callaghan

All good stories begin with character—with human strengths, weaknesses, and desires that the reader can recognize within themselves. To create a truly great story, you need a compelling principal character. That’s where the protagonist comes in.

But what exactly do we mean by protagonist, and how can you write ones that keep your readers riveted? We’ll explain what a protagonist is, give you some hints on how to write your own, and show you some effective examples from literature.

What is a protagonist?

A protagonist is the main character of a story. They’re also known as the story’s hero. Their actions and motivations are what propel the plot forward, and their conflict with the antagonist is the dramatic center of a story. As the leading character, the protagonist becomes the lens through which the reader experiences the story’s world.

The word protagonist comes from the Greek word, prōtagōnistēs , which means “chief actor.” The protagonist would be the first billed player in a stage drama. Today we would call this the headliner, or the star of the show.

In order to have a strong, engaging protagonist, you’ll need to figure out what they want most, what they need , and what they have to do to get there. Then your protagonist and your reader go on that journey together. If you as the writer have done your work well and crafted a protagonist that’s engaging and dynamic, the reader will stay with them until the very last page.

What’s the difference between protagonist and antagonist?

The protagonist is the lead character in a narrative, while the antagonist is another character who creates complications for the protagonist. Both the protagonist and antagonist have something they want to accomplish or attain, but their goals are mutually exclusive—only one of them can get what they want. This conflict is what moves the story forward.

Often we think of an antagonist as the “bad guy” or the villain, but this isn’t always true; an antagonist may be just a character like a friend, family member, or colleague who simply wants something different from the protagonist or sees the world in a different way.

A novel or short story may have several antagonists that the main character meets along the way, all creating different sources of tension and conflict.

Protagonist definition: A protagonist is the story’s main character. Their needs, goals, and choices shape the events of the plot.

What’s the difference between a protagonist and a hero?

A hero is a distinctive character archetype , while the protagonist is simply the center of a story. The protagonist can be a hero, but they can also be something more complex. They might even be a villain!

While heroes can look very different depending on the setting, theme, and cultural background of the story, it really comes down to this: a hero is someone who always tries to do the right thing—even when doing the right thing is hard, and even when they have too much to lose. A hero puts the needs of others before their own.

Does that mean your protagonist has to be a hero? Historically this has often been the case, because it’s been proven to work. Readers like heroes. We like having someone to look up to, someone who shows us the best of what we could be. But there’s a rising trend in film and literature of subverting the hero/villain dynamic and telling the story from another point of view. This is what’s known as the anti-hero.

For example, the hit film Maleficent retells the timeless story of Sleeping Beauty from the perspective of the classic villain of the story, the dark witch who places a curse on the princess. In that film, the protagonist is the villain, not the hero.

Marion Zimmer Bradley also made a villain the protagonist in her novel The Mists of Avalon , a retelling of the Arthurian legends that tracks the story of Morgaine, one of the saga’s major antagonists.

Making a villain the protagonist can be a very effective technique, but it’s tricky to do right. Instead of the protagonist being a hero that shows us our strength, stories whose protagonist is a villain show us our weakness. This can take both the reader and the writer to a place that’s not entirely comfortable. But if the story is done well, with well-crafted character development, it’ll also show us how these weaknesses can be overcome—and that strength can be found where we least expect it.

Can you have more than one protagonist?

So we know that your main character is the driving force around which your story revolves, but can you have multiple protagonists? What if you want to tell your story through different points of view?

Some characters do have more than one protagonist, and do so very effectively. Historical fiction novels with dual timelines are a good example of this; they’ll often have one storyline set in the present day and another storyline running in the past, each with their own protagonist. Or, you might have a novel that follows a group of friends, each facing their own antagonist of source of conflict.

In Jennifer Ryan’s novel The Kitchen Front , four women compete in a competition that offers a life-changing opportunity. The novel alternates between each of the women telling her own story. In these cases, what you’re really doing is telling multiple interconnected stories; each story has only one protagonist, but you’re allowing the reader to experience more than one story at a time. In each narrative, the protagonists of the others becoming a supporting protagonist in that story.

However, even in books with more than one protagonist, there will usually be one character that the readers connect with most, who seems to bring all the others together and forms the emotional heart of the story. This will usually be the very first voice that opens Chapter One.

Occasionally, you might have what’s known as a “false protagonist”—a main character who narrates the story some of the way, and then passes it on to a different character. Game of Thrones is a good example of a story that removes the protagonist part way through and turns the story in a new direction.

How a protagonist communicates the theme of your story

Theme is something that tends to develop organically as your story and characterization progress. Many writers only discover what the theme is after they see their characters grow, change, and learn. To begin, ask yourself what your protagonist wants, what they need, and what they need to overcome in order to get there. That’s where your story begins.

At the beginning of your story, your protagonist should have a need that is unfulfilled—even if they’re content in their day-to-day lives, before the introduction of your conflict, there’ll be something missing that keeps them from feeling whole. For example, they might be professionally successful but isolated in their personal lives, or they might have a loving tight-knit family whose demands keep them from growing as a person.

In these instances, your theme might be things like the importance of a work-life balance, or seeking out people that bring out the best in you, or letting go of old traditions that are no longer healthy. The way your protagonist interacts with these ideas and comes to accept them through their character arc will also help the reader understand why those themes are important.

Once you begin to see the questions your protagonist is asking themselves and the struggles they’re facing as a result, you’ll be able to see the theme that’s naturally emerging and understand how to share that theme with your readers.

You learn lots more about developing powerful themes through our lesson here .

Protagonist examples: 7 great main characters in literature

Here are some of the most famous protagonists in literature. To read about the antagonist characters that correspond to these protagonists, see our article on antagonists .

Sherlock Holmes

Untouchable and unflappable with a mind like an expertly trained orchestra, Sherlock Holmes is very much the intellectual equivalent to James Bond. This fictional character first appeared in literature in 1887 and has been engaging readers and viewers ever since.

Holmes is a great example of a protagonist with well-balanced strengths and weaknesses. Readers love him for his skill with just about everything under the sun, from science and law to art and literature—all which have served him well as he worked to unravel cases in his detective work.

But his failings arise when he needs to try and understand the human heart, the passions and feelings that drive people to do the things he works to understand. The BBC series Sherlock describes him as a “high-functioning sociopath”: some scholars have suggested that Sherlock Holmes may have had autism. It’s this dynamic play of weakness and strength that makes him seem all the more real to us.

Tall, dark, and so internally damaged by self loathing and trauma that he needs to put on a cape and beat baddies senseless on the rooftops of a gritty broken city. I mean, relatable, right?

In many ways, Batman works as a classic hero because he shows us what we could become if we allowed our shadows to consume us. And yet, he exhibits an extraordinary inner strength that keeps him from becoming one of the villains he fights against. He shows us that when there is no light left in the darkness, maybe you can begin to heal by becoming that light for others.

The most compelling protagonists have strengths and weaknesses we recognize from our own life.

Vianne Rocher

In Joanne Harris’ classic novel Chocolat , Vianne Rocher is a woman who blows into a small provincial French town in a rush of gently spiced cocoa powder and indulgent indecency. Her rootlessness and her disregard for the religious fasting season observed by much of the village quickly divides the people there.

In time, her passion and empathy touch the lives of many and show them that denying your desires can be a very damaging thing. They, in turn, show her that it’s not such a bad thing to finally belong somewhere.

One of the most classic heroes in literature, this protagonist is characterized by his unmatchable archery skills, his camo-toned wardrobe, and his utter disregard for any societal constraint whatsoever. For many of us reading the stories of Robin Hood as children, shedding the skin of expectation and going to live in the woods sounded like the ideal way to live out your days.

And yet, Robin isn’t blind to the cruelty and injustices in the world around him. Living in a society where heroes are few and far between—their good King Richard has abandoned his kingdom for the far-off crusades—Robin Hood shows us that when we see wrong being done in the world and no one to stand against it, we can make a big difference in people’s lives by stepping into that role ourselves.

Mortimer Folchart

The leading player in Cornelia Funke’s Inkheart books, an epic love letter to readers everywhere, Mo Folchart is a mild mannered bookbinder with the curious ability to read characters out of the stories they came from. Once he finds himself and his family caught in one of these storybook worlds, he starts to question how much of himself he needs to give up and what he needs to become in order to protect the ones he loves.

For many of us, being caught in the pages of our favorite fairy tale would be a dream come true. In this story, however, we see how important it is to be true to yourself even as you continue to learn and grow.

Bilbo Baggins

Few fictional characters in literature are so deeply associated with the comforts of home: good food, cozy blankets, warm firelight, and loyal friends. This is what makes it so tense and engaging when our hero has to leave these comforts behind for the chance at something greater.

Although unwilling at first—a classic example of the “hero’s journey” of storytelling —Bilbo grows through his adventures in ways he could have never imagined. Even as he faces greed, goblins, and a fire-breathing dragon, he never sacrifices his own values, even going so far as to betray his friends to keep everyone safe.

By the time he returns home to his cozy hobbit’s cottage, he has grown wiser, developed new skills, and gained a treasure trove of stories to tell.

Your protagonist doesn’t always have to be morally upstanding; instead, they should have the potential to grow.

Dr. Henry Jekyll

Strictly speaking, Dr. Jekyll isn’t the protagonist of Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde ; as was popular in literature of that time, the protagonist was a supporting character through which we could view the events of the story (Ishmael in Moby Dick is another such example). But Dr. Jekyll has been so deeply ingrained in our literary consciousness that we see him rising again and again in stories, film, and television.

Dr. Jekyll struggles with the battle between his conscious morals and his base desires. We’re fascinated by this character because this is an internal conflict that so many of us experience on so many levels. It’s both fascinating and cathartic to see it being given life and form as Dr. Jekyll quite literally rips his weakness out of him—and finds that his weakness may be more formidable than he thought.

3 ways to write a protagonist readers will fall in love with

As you can see, there is no single right way to write a great protagonist or a great antagonist; they’re as varied and unique as human beings themselves. But by studying some of the protagonists that have captured the hearts of readers in the past, we can see patterns of what resonates with us and makes them memorable. Here are a few tips.

1. Give them a superpower

In some cases, this may be an actual superpower; in others, it might simply be a strength that is unique to them alone. It might be a photographic memory for numbers, the ability to fix cars previously deemed unfixable, a singing voice that can break hearts from a mile away, a gift for making people smile when they’re in the darkest depths of hopelessness.

Highlighting a primary strength in your character gives them depth, dimension, and a place to begin building relationships with other characters.

2. Give them a weakness

A protagonist’s strength is what makes them interesting, but a protagonist’s weakness is what makes them human . Maybe, like Sherlock Holmes, they have difficulty connecting with other people. Maybe they handle time constraints very badly, or freeze up when faced with modern technology, or allow their insecurities to push people away.

It’s the juxtaposition between your protagonist’s strengths and weaknesses that determine how they interact with the world around them and how they respond to the conflicts that drive the plot.

3. Give them someone to fight

At last, the villain of the show. As you might guess, there’s no one right way to craft the perfect antagonist. However, every good antagonist plays off of the protagonist in some way. It might be that the two are different incomplete parts that together create a balanced whole; it might be that they’re inversions, each highlighting the strengths and weaknesses of the other. The antagonist might show us what the hero of the story could have been, or what they might still yet become.

Once you know who you want your protagonist to be, ask yourself: what are their strengths? What are their weaknesses? What do they need most? What are they most afraid of? Then see if you can find a way to take these aspects and turn them inside out. This will give you the antagonist of your story.

Sometimes, as we’ll look at closer in our article on conflict , your antagonist might not be a person. It might be a group of people or organization, an impersonal force of nature, or even a weakness inside themselves. Whatever you choose for your antagonist, however, should still come from the questions you ask about your protagonist.

A memorable protagonist needs: A superpower; A weakness; A source of conflict

A well-crafted protagonist makes for powerful storytelling

When people read stories that truly resonate with them, it’s often because of a genuine, well crafted, believable protagonist. When we read a story and are able to see our own strengths, weaknesses, hopes, and desires reflected in a character who uses them to learn and grow, these become the stories that stay with us for a lifetime.

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What is a Protagonist? || Definition & Examples

"what is a protagonist": a literary guide for english students and teachers.

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What is a Protagonist? Transcript (English & Spanish Subtitles Available in Video; Click HERE for Spanish Transcript)

By Liz Delf and Marisa Williams

What is a protagonist?

The very short answer is that the protagonist is the main character. That definition works well as a shorthand version, but let’s add a little more nuance.

The protagonist is the character who drives the action--the character whose fate matters most.

In other words, they are involved in —and often central to—the plot or conflict of the story, but are also usually the emotional heart of the narrative.

Sometimes it’s easy to pinpoint who the protagonist is in a story. For example, the graphic memoir Persepolis by Marjane Satrapi is about the Iranian Revolution, and it explores questions of identity, state violence, and feminism. At the heart of the story, though, is young Marjane herself. The plot is centered on her experience as a young woman, and the emotional climax of the memoir is her grief and anger over the death of her friend.

While naming the protagonist of Persepolis is pretty simple, that’s not always the case. Sometimes identifying the protagonist can be a little more complicated.

image_from_persepolis.jpg

a short story protagonist

At this point, let’s add another characteristic of the protagonist: THEY CHANGE. They usually make choices, take actions, and are altered by the repercussions.

This might just be another way of saying that they are the emotional heart of the story, but it’s worth flagging as a key point. In some literary fiction, there’s not a big twist or surprise, and it can be hard to identify the point, let alone the main character. Try asking yourself: who changed in this story? Who started in one place and moved (emotionally, mentally, relationally) to another? THAT is often the point of the story.

Here’s another example: the story “The Things They Carried” is about a platoon of soldiers in the Vietnam War, and intimate details are shared about each of them. However, it’s really a story about Lieutenant Jimmy Cross: he starts in one place—distracted and loving a girl back home—and ends in another—letting go of his feelings in order to be a better and more focused soldier. The emotional climax of the story comes when he burns her letters, which he’s been carrying for months. It’s a war story, yes, but it’s also a coming-of-age story about the protagonist, Jimmy.

Here’s another place where it can be a little tricky to identify the protagonist: when the title misleads you.

Some stories and series are named after the protagonist—the Percy Jackson series, the Roald Dahl book Matilda .

protagonist_examples.jpg

a short story protagonist

BUT that isn’t always the case! Moby-Dick , for example, is the name of the whale. While a whale might drive a plot, it certainly isn’t the emotional heart of this story; Melville’s novel is really about the men on the ship. The Wizard of Oz is another familiar example—Dorothy is clearly the emotional heart of that story, and the one who changes as she comes to appreciate the home she left behind. No one really cares about the Wizard’s emotional growth.

Very rarely, there can be more than one protagonist, as in Romeo and Juliet . We see both perspectives, both characters change, both makes choices and take action—and both of their fates are central to the tragic nature of the play.

One final point: while the protagonist is often the hero, that’s also not always the case. In fact, we’re all pretty familiar with the ANTI-hero protagonist these days, because it’s been so common on recent TV shows; this is a protagonist who lacks traditional heroic qualities (like bravery or a strong moral code). Think of Walter White on Breaking Bad , or in a more literary example, Iago in Shakespeare’s Othello .

anti-hero_protagonist.jpg

a short story protagonist

So the protagonist doesn’t have to be relatable or likable; even if you don’t want to be their friend, they can still be the protagonist.

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How to Write a Short Story: A 6 Step Guide with Examples

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Writing a full-blown novel can be a daunting prospect. With multiple chapters, character arcs, and plot points, the prospect of novel-writing is a myriad of possibilities, twists, and turns.

Then there’s the matter of time. Not all writers will have the time to put into a novel. With the world a busy and demanding place, time isn’t a luxury that many people have, especially when they’re first starting out as a writer or trying to write as a new hobby. Here is where short stories are ideal.

So, what is a short story? Essentially, it’s a condensed version of a novel. Like novels, they have a fully developed and explored theme, but are just less elaborate. We follow fewer characters and a single plot thread, to quickly engage a reader.

However, short stories still need a coherent and engaging plot: a beginning, middle, and end. Usually, they can be anywhere from under 1,500 words, known as flash fiction stories, to 8,000 words. There is another category called long short stories, which range from 8,000 to 20,000 words. These are also known as novelettes.  

Short stories can give new writers the “opportunity to find their own voice, to learn the fundamentals of narrative, and, most importantly, to produce a complete piece of work over a limited time scale” (Cox, 2005, pg. 1). Think of short stories as a calling card to bigger writing opportunities. 

a short story protagonist

On the flip side, short stories are ideal for the aspiring author. Think of them as calling cards for new opportunities. Publications such as newspapers, magazines, blogs, and anthologies are always on the lookout for short stories and will pay for them too. Many will pay per word, so it can be a financially smart choice for writers.

You may be thinking, if a short story is just a condensed version of a novel, surely, it’s quite straightforward to write. Think again! A short story means a greatly reduced word count, so you’ll need to be selective in the scenes you include to tell your story from beginning to end. Problems need to be solved quickly, and elaborate detail discarded.

Just like a novel, planning is key! Before you even write your first few words, you’ll need to have an outline in place to ensure your plot is snappy, characters are fully developed, and you have that all important, clear beginning, middle and end.

So, let’s begin our journey into how to write a short story…

1. Choosing Your Story Idea

Finding inspiration.

Deciphering that one key idea for your story can be the trickiest part of the story writing process. Ideas don’t always appear out of thin air or just pop into your head.

Most of the time, you’ll need to actively work on getting your creative juices flowing. Here are some ways to do exactly that:

Break Down the Key Elements of the Story

Known as the Six Elements of Fiction, these points can help determine everything you need to construct your story. On a piece of paper or in a word processor, write out the six elements. Then, as you determine each, write it down.

  • Plot: what happens in your story?
  • Character: who is going on the journey within the story?
  • Setting: what world is the story set in?
  • Point of View: from whose eyes does the story unfold?
  • Theme: what is the meaning of the story?
  • Style: what words and sentence structures will you use to tell the story?

It doesn’t matter if you don’t have all the answers straight away.

Experiment with different combinations until you find something that works. The important thing is that you have something for each of these six elements.

You don’t have to begin with plot either. If you have a fantastic setting in mind, start there and branch off into character, plot, theme, and style.

Freewriting

Freewriting is when you take a writing prompt and then start writing! It could be something as simple as “There’s a locked door. What’s behind it? Why is it locked?”.

Or something a little more elaborate: “You are an FBI agent who has lost contact with their superiors. You are surrounded by criminals. What do you do?”.

a short story protagonist

Once you’ve found a writing prompt you like, write for five to ten minutes without stopping and without criticizing your work as you write. After your time is up, read through what you’ve created. Is there a character, a moment, a place that sticks out to you? If so, use it and expand on it.

If nothing sticks out to you this time around, try a different writing prompt or modify the prompt you’ve already used. For example, you could be one of the criminals surrounding the FBI agent. Change the perspective or setting of the piece.

Does anything change?

Use Real Life Experience

Now, we’re not saying you need to write a shortened version of your autobiography, or an extensive diary entry. Instead, draw on your personal experiences to create something brand new.

Perhaps you went on a one-in-a-lifetime trip. Use this destination as the setting for your short story. You have first-hand experience of spending time there, so use it.

If you’d prefer to find inspiration from the stories of others, the news, magazines, and historical events can be fantastic places to start. Even eavesdropping when you’re chilling in your local coffee shop can get your creative mind whirring.

Remember, all stories stem from real life, written by real people, no matter how outlandish they seem.

Remember that You’re Writing a Short Story

Are your creative juices flowing yet? Great! However, keep in mind that the less characters and plot threads, the better.

As we’ve already discussed, short stories have a limited word count, so always have that at the forefront of your mind, and don’t go overboard with multiple character arcs and story lines.

2. Crafting Your Characters

While we’re on the subject of characters, let’s go onto character development within your short story.

The advantage of having minimal character in a short story is that you can fully explore who they are and how they interact with the world around them. A protagonist and antagonist should be all you’d need, plus one or two secondary characters.

a short story protagonist

The protagonist is the character who drives the plot. They could be a hero in pursuit of the greater good, for example. Most importantly, the protagonist must be someone who the reader can root for.

The antagonist opposes the protagonist and their goals. They usually hinder the protagonist’s journey, providing obstacles along the way.

When you’re first exploring your characters, create a profile for each of them. A fact file that tells you all you need to know about them. Now, the key here is that you don’t reveal all this information in the story. These facts are useful tools for you as a writer to work out why a character may react in a certain way and their tastes.

Crucially, your characters need to develop throughout the story. For example, the protagonist must begin with a motivation that they spend the entire story trying to fulfill. Obstacles then appear in their way, perhaps through the setting or the actions of the antagonist.

At the end of the story, the protagonist will have gone through a significant change, triggered by the journey they’ve been on.

The reader must care about the protagonist’s journey and be intrigued to find out if they’re successful in fulfilling their goals. But how do we create memorable, likeable characters that a reader would love?

How to Create Memorable Characters

We’ve mentioned that a character needs to be likeable, but what does that actually mean? For a character to be likeable, they need to embody positive traits such as compassion, humility, generosity, and kindness. Your job as a writer is to show these traits as quickly as possible when the story starts.

It could be a brief moment where your protagonist showcases a kind gesture or word towards a minor character, for example.

As well as liking the character, the reader also needs to relate to them on a human level. We all have fears and worries in our lives, so it makes sense for our characters to have them too, and for them to be visible to a reader. No one is perfect, so a character flaw is also important to remember. What do they need to learn and overcome in order to reach the end of their journey?

Additionally, you’ll need to challenge the reader with your protagonist; they don’t always have to agree with everything the protagonist does on their journey. Take Dexter Morgan from the TV show Dexter . He’s a protagonist who murders other murderers who have escaped justice with an intense urge to kill.

a short story protagonist

With a successful TV show like this, the protagonist is indeed likeable despite his pursuit of delivering justice, even if it isn’t in line with US law and justice system practices.

The writers have Dexter fall in love, fear losing those he loves, and struggle to curb his urge to kill. His determination and battle to lead a normal life is inherently human. Therefore an audience relates to him despite his actions challenging their moral code.

Once again, stealing from real life is an effective way to determine memorable and well-rounded characters. Think of someone in your own life who has had a huge impact on you.

Consider their personality. What are their flaws and struggles? What are their goals? You may not want to use their whole personality, but you can of course take elements and craft them into your own character.

Before you start writing, also work out whether your protagonist will learn a lesson from their journey. Are they going to be redeemed, or do they come to a particular realization about themselves or the world, or do they not change at all, learning nothing from their experiences?

By having a clear understanding of the conclusion your protagonist will come to, it’ll make crafting the plot points leading to it much easier.

Developing Realistic Dialogue

How your characters express themselves and their personalities is just as important as the personality itself. Every character should have a unique voice that gives the reader insight into who they are and the world they live in.

Setting plays a huge role in how your characters speak. Are they living in the here and now, in which case you’d use modern words and phrases, or are they living in a by-gone era, such as the medieval times? A medieval peasant wouldn’t talk like we do now, so ensure you do your research into how people of that time spoke.

Show differences in character through varied speech patterns. We can define speech pattern in two different ways. First is the pitch, volume, and placement of the character’s voice (is it throaty, nasal, hoarse, loud, high-pitched, whispery?) Secondly, is their voice gentle and soft, or harsh and blunt?

A character’s personality would inform which patterns you’d choose for them. For example, if a character is optimistic and happy-go-lucky, we would expect their voice to be light and use positive vocabulary.

On the other hand, a gloomy character may mumble and not say many words. Some characters may be more of a listener, so wouldn’t naturally say a great deal.

A top tip is to flip this around. Could a seemingly happy-go-lucky character try and come across more melancholy, so as not to be annoying to those around them? Or could a seemingly gloomy character try and make a real effort to come across more carefree than they actually are?

As you can see, it all stems back to character motivation and what they want to get out of each interaction they have with people around them. 

Small variations in speech patterns between characters can make all the difference and allow a reader to distinguish who is speaking.

Check out more top tips on creating awesome characters in our blog post: Developing Your Characters .

3. Developing Your Plot

As we’ve already discussed, a clear beginning, middle, and end is crucial to a short story.

Think of it as writing in three acts.

Act One introduces us to the characters and hooks us into the events.

Act Two is the main body of the story, where most of the action happens.

Act Three concludes and wraps up what has happened so far, and is where your protagonist (does or doesn’t) fulfill their goals.

a short story protagonist

The first Act should capture the reader’s attention immediately, quickly introducing characters and setting. Our advice is to always start on a huge event to immediately establish tension and your single point of conflict for your story (we wouldn’t recommend anymore than one for a short story).

This point of conflict should trigger a dilemma for the protagonist that they must navigate throughout the rest of the story. It may sound miserable, but make bad things happen to your protagonist to show the reader what they can do.

Act Two will then develop this point of conflict, your protagonist working their way around all the obstacles thrown at them by the antagonist or other antagonistic forces, such as the environment around them. This section of the story is the trickiest to write, as it is very easy for the plot to flounder.

Here is where your planning will come in extremely useful. Ensure you have clear plot points that drive your protagonist’s development towards their goal.

Act Three brings everything together and is where the protagonist succeeds or doesn’t! Whatever you decide, it must be a satisfying ending. The key to an effective ending lies in the stakes you set up at the start. Is your protagonist challenged enough? Is there ample reason for a reader to root for them?

A satisfying ending doesn’t mean you have to answer all your readers’ questions, but it can be helpful to revisit something discussed earlier in the story and wrap things up that way. You don’t want your readers going away thinking they’ve read part of a longer story.

4. Setting the Scene

Creating a vivid setting.

The setting is a key literary device, which provides atmosphere and background in which your story takes place. Think of the setting like scenery when you go to the theater. It adds to the ambience and theme of the story. It can almost be a character itself in its ability to drive and influence the plot.

It’s important that your setting needs to be vivid and carefully considered. Remember, it’s up to you as the writer to paint the picture of where your characters are.

If your story is set in the modern day, are you in a particular country, city, or town? How does this modern location influence your characters’ lives? Will it help or hinder them in pursuit of their goals? How are the characters connected to these places?

When writing a short story, stick to one or two locations, you can really set the scene and focus on what’s unique about these places. How are these locations different from other places?

Ways to Describe a Setting

When describing your setting, consider all five senses: touch, smell, taste, sight, and sound. Which of these are most prominent in your location? For example, if your setting is a bakery, smell and taste would be the two key senses being used.

 As this is a short story, don’t get too carried away with description. Consider the most important aspects of your setting, and how they relate to your characters and connect to the plot itself. Does this place have a special significance to them? Or does the protagonist feel caged and suffocated when they’re in this place?

A short paragraph per new setting should be more than enough to introduce a reader. Throughout the rest of the story, use the essential elements from the setting you’ve established, and pepper them in to continue to help develop your characters.

5. Writing the First Draft

You’ve planned and refined the plot for your entire short story, and now it’s time to start writing! Set yourself up in a comfortable writing space, free of distraction and clutter. Perhaps curate a music playlist that’ll keep you motivated. Plan a writing schedule that works for you, a few hours a day or even just 10 minutes, as long as you’re consistent!

a short story protagonist

Once you’re settled in, we recommend writing the story in its entirety as quickly as possible. Don’t edit as you go along, just keep writing. No first draft is perfect, but you need a completed story in order to look over it as a whole and identify any key areas of strength and improvement.

The whole point of your original story plan is to allow you to almost free write and work with what comes naturally. This will also reduce the chance of writer’s block taking hold. If you do struggle with writer’s block, we have your back with our What is Writer’s Block (Causes and How to Overcome) article.

Refining Your Draft

No first draft is perfect, so refining and editing your story once it’s written is an extremely beneficial exercise. It’s normal for rewrites to take longer than the first draft itself, so don’t worry. The reason for this is that you now have a full picture of your story structure, so can look more critically at what could be changed.

Once you have completed your first draft, leave it for a few days or even a few weeks, and return to it with a fresh pair of eyes. You’ll find you’ll spot more this way, and less errors will dodge your attention. Focus on the overall flow and pace of the plot, whether your characters are defined, their goals and motivations clear, and the small details such as spelling, grammar, and punctuation.

It can be helpful to complete several ‘passes’ of your script. For example, read through your script once, focusing on plot only. Make any notes you need. Then read it again, focusing on character, then so on with setting, dialogue, and finally SPAG.

Remember, you can also seek feedback from other writers. A second opinion is useful in highlighting errors you’ve missed or elements you may not have thought about. This can be a daunting prospect, so make sure you send your story to someone you trust. You could even send it to a professional editor, who will give you some advice. Of course, this will cost a little money, but can be well worth it.

6. Publish Your Short Story

You’ve put enormous amounts of work into planning, writing, and perfecting your short story, so why not show it off? Publishing your short stories or submitting to literary journals and competitions can help you gain credibility as a writer and gain your own clan of readers.

Of course, you don’t have to submit to publications if you’d prefer not to – Why not start your own blog instead and promote on social media?

a short story protagonist

Tips for Submitting to Literary Journals

Don’t submit your stories to every literary journal you can find. Be strategic. Do your research and compile a list of journals that would best suit your story’s genre, length, and most of all, the requirements of the particular journal to which you’re submitting.

Pay attention to any requirements:

  • Do they require a specific genre or topic?
  • Is there a specific length the short story needs to be?
  • Are there specific author requirements (e.g. age restriction)
  • Do they allow submissions that have been sent elsewhere?
  • Do they allow you to submit more than one short story?

When researching, we recommend you create a spreadsheet or separate document to record which journals you’re interested in and meet the specifics of your short story.

Preparing a Cover Letter and Author Bio

Once you have chosen the journals you’d like to submit to, you’ll likely need to write a cover letter to accompany the short story you’re sending. Typically, you’ll need to include:

  • The story title, genre, and word count
  • Your writing CV (if applicable – make sure to include any and all experience you have)
  • Whether this is the first time you’re submitting for publication
  • Include some further information about yourself (this is key for your author bio if your story is selected)
  • A thank you note thanking the judges for their consideration.

What Should I Do If My Story Gets Rejected?

Rejection can be a good thing, especially if the publications you’ve submitted to, provide feedback.

a short story protagonist

You can use this to improve your current story and overall writing.

A rejection is always one step closer to acceptance, so keep going! Continue to write stories as frequently as you can, continue to edit the ones you already have.

There we have it, our step-by-step guide on crafting a short story! Remember to begin with intriguing and likeable characters in a situation that will challenge them, and a setting that helps or hinders them on their way. Extensively plan your story before writing, and edit it within an inch of its life when you have written it! Most of all, enjoy the process!

On that note, we’ll leave you in the wonderful world of short stories.

Good luck out there!

a short story protagonist

Natasha is a UK-based freelance screenwriter and script editor with a love for sci-fi. In 2022 she recently placed in the Screenwriters' Network Short Film Screenplay Competition and the Golden Short Film Festivals. When not at her desk, you'll find her at the theater, or walking around the English countryside (even in the notorious British weather)

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Protagonist

Protagonist definition.

A protagonist is the central character or leading figure in poetry, narrative , novel or any other story . A protagonist is sometimes a “ hero ” to the audience or readers. The word originally came from the Greek language, and in Greek drama it refers to the person who led the chorus. Later on, the word started being used as a term for the first actor in order of performance.

Iago in Shakespeare’s Othello could be identified as the protagonist of the novel because he played a central role in all the controversies of the play . The question here would be that, even though he was a central character, was he really the lead character too? This type of indistinctness generally results in completely different interpretations of whether the said character is a protagonist or not.

Examples of Protagonist from Literature

Example #1: hamlet (by william shakespeare).

Protagonist examples in many stories are not shown to be flawless. They generally undergo some change that causes a turn of events. This makes a story interesting and helps deliver a message. Sometimes, a moral weakness shows that causes the fall of the protagonist. For example, in William Shakespeare ’s play Hamlet , the protagonist experiences terrible events because of his indecisiveness, which troubles him while murdering his evil uncle. So, Hamlet ’s struggle in dealing with the antagonist is what precedes the story.

Example #2: Vanity Fair (By William Makepeace Thackeray)

A protagonist can sometimes be very controversial because of some evil traits. One of the good examples of protagonist who is controversial would be Becky Sharp from William Makepeace Thackeray’s Vanity Fair , who is occasionally be very manipulative in order to achieve her own interests.

Example #3: As I Lay Dying (By William Faulkner)

There are ensemble stories that do not particularly highlight either one of the characters more than the rest. For instance, Addie Bundren’s demise in the novel As I Lay Dying by William Faulkner , results in her family traveling a long way to bury her, and they all tell the story from their own perspectives, which makes them all equally important to the story. Thus, it leaves us with more than one protagonist in the same story.

Protagonist Examples from Cinema

Example #4: star wars (by george lucas).

George Lucas develops the character of Luke Skywalker in the movie Star Wars . He plays an outwardly naïve farm boy. Luke desperately wants a life different from his monotonous existence. After his uncle’s and aunt’s demise, he has no other choice but to join forces with Obi-wan Kenobe. Luke later matures to understand the customs of The Force. His antagonist in the movie is Darth Vader, who turns out to be Luke’s father. They both get into a major conflict but eventually Luke succeeds.

Function of Protagonist

A protagonist is a very important tool to develop a story. There are different terms for a protagonist, such as hero, focal character, central character, and main character. Regardless of what title you give a protagonist, he or she remains the key ingredient in the development of the story, which is why the story revolves around him or her. More often than not the protagonist is fair and virtuous, and is always supporting the moral good. Further in the plot the protagonist may undergo some change, which will probably be the climax of the story.

Being the central element puts grave responsibilities on the shoulders of a protagonist. Since, the story revolves around the protagonist, he is the one who has to work as an emotional heart of the story, helping the audience connect with it on a basic level. A well-constructed protagonist attracts the audience emotionally.  It helps them relate to the joys, fears, and hopes of the character in the story.

The events occurring in a story are always viewed from the perspective of the protagonist. The audience decides whether or not a particular event is favorable in a story. A wedding is an important and positive event in The Sound of Music because it is a positive event for the protagonist, Maria. However, the same kind of event in the movie While You Were Sleeping would be unfortunate because in that case the protagonist Lucy was marrying the wrong person.

Some stories weave many characters into an ensemble story, but even in such stories there is often one character that is more important to the story than the rest. For instance, in The Lord of the Rings trilogy there are many characters that have great significance to the story, but Frodo Baggins is the one who stands out, because everyone else’s destiny rests in his hands.

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Writing Forward

How to Identify the Protagonist in a Story

by Melissa Donovan | Aug 13, 2023 | Story Writing | 4 comments

how to identify the protagonist

Can you identify the protagonist?

In most stories, the protagonist is obvious: Harry Potter , Lisbeth Salander , and Katniss Everdeen are unquestionably the protagonists of their respective stories. But sometimes the protagonist isn’t so obvious.

In some cases, a false protagonist is planted to intentionally mislead the audience, but the story later reveals another character to be the true protagonist. In other cases, primary characters get dominant roles within a story, making the true protagonist difficult to suss out.

George R.R. Martin is beloved and infamous for killing off main characters in his series  A Song of Ice and Fire , and readers are often mislead or confused about which character is the protagonist at any given moment in the epic historical fantasy tale.

Common Misconceptions About Protagonists

Readers often hold misconceptions about protagonists. Some common myths assume that the protagonist is the point-of-view character, the character who gets the most screen time, the first-person narrator, the “good guy” (or hero), or whichever character draws the most attention from the audience. And in film, we often assume the character played by the most famous actor is the protagonist.

While all of these traits are often associated with protagonists, none of them will help us definitively identify a story’s protagonist.

Here are a few examples of stories in which none of these criterion point to the protagonist:

  • Heart of Darkness : The first-person narrator is not the protagonist.
  • A Song of Ice and Fire : With multiple point-of-view characters, it’s impossible for all of them to be the protagonist.
  • Lolita :  Humbert Humbert is the protagonist, but he’s definitely not a good guy.

Who’s the Protagonist?

A story can have multiple protagonists. This is often the case in an ensemble, although the position of protagonist often rotates through the cast in various scenes or installments in a series. And some love stories or buddy stories might have co-protagonists. But these are rare, and even in many ensembles, love stories, and buddy stories, one of the characters fulfills the role of true protagonist more than the others, even if only slightly.

So who is the protagonist in a story, and how can we identify them?

  • The protagonist faces challenges, particularly the central challenge or conflict within the story.
  • The protagonist wants or needs something (has a goal).
  • The antagonist’s actions are interfering with the protagonist’s ability to achieve the goal.
  • The protagonist makes choices or decisions, which are usually difficult.
  • The choices made by the protagonist lead to consequences, good and bad.
  • The protagonist undergoes personal transformation, which is often dramatic, as a result of the events within the story.
  • At its heart, the story is often about the protagonist; it is the protagonist’s story.

Other primary characters may meet these criteria, but the protagonist usually meets all these criteria more intensely than any of the other characters.

Perhaps most importantly, the story, at its heart, is ultimately about  the protagonist.

Identifying the Protagonist

Do all protagonists fall within the paradigms outlined above? No. There are always exceptions. Storytelling, character development, and identifying a protagonist are not exact sciences. But these standards for the protagonist can be used to measure each primary character’s role within a story to figure out which is the true protagonist.

Have you ever found yourself wondering which character in a story is the protagonist? Have you ever entered a debate with a friend about which character was the protagonist in your favorite book or movie? How can you use a better understanding of protagonists to craft a stronger, clearer protagonist or a story with multiple or even misleading (false) protagonists?

whats the story building blocks for fiction writing

I find I am mostly interested in the story and don’t care who tells it. I enjoy different points of view about the same story

Melissa Donovan

I don’t have a preference for point of view either (it depends on what works best for that particular story), but that’s a different topic than identifying the main character (protagonist). Sometimes the protagonist is the narrator, other times they are not.

Tony Payne

EDITOR’S NOTE: THIS COMMENT CONTAINS SPOILERS FOR GAME OF THRONES (SONG OF ICE AND FIRE):

A Song Of Ice And Fire (or Game Of Thrones to those of us who haven’t “yet” read the book) has to be probably the most unpredictable storiy ever. Throughout the first series I expected Ned Stark to be a main character and suddenly, dead! The same happened with so many other main characters I wondered who was going to be left. It was definitely almost impossible to predict.

I was listening to the audiobooks, but then the world got crazy and I found myself searching for lighter reading (listening) material. But I did watch the entire series, and I agree with you completely. During that last episode of season one, I was waiting for Ned to get out of his predicament–even after the deed was done! I couldn’t believe what I was watching. It goes to show that you can break the rules (or guidelines) if you do it right.

But here’s another way of looking at it: storytellers actually do often kill off main characters (see: Titanic ). It’s rare for them to kill off *the* main character, or the protagonist. With Game of Thrones, I’d probably argue that although Ned appeared to be the protagonist, ultimately, he was not. My take on GOT is that the entire Stark family functions as the protagonist, and it’s notable that Bran Stark is much more prominent as a main character or protagonist in the books.

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The 8 Elements of a Story – Explained for Students!

The 8 elements of a story are: character, setting, plot, conflict, theme, point-of-view, tone and style.

8 elements of a story explained

These story elements form the backbone of any good novel or short story. If you know the 8 elements, you can write and analyze stories more effectively.

Teacher Resource: Elements of a Story Worksheet for Students: ‘Planning your Short Story’ (Google Doc)

The 8 Elements of a Story

The first of the story elements is the story setting. All stories have a setting. The setting includes the time and place in which the story will be taking place. 

There may be just one story setting, such as in a short story that only takes place in a single room of a house. Or, there may be many different settings spanning many locations and times, such as stories that span generations or that have characters who travel the globe.

Common setting considerations are:

  • Alternative reality

In regards to time, stories can be set in the past, present, future, or even a mix of the three. For example, Back to the Future uses all three settings. Marty McFly travels back and forward in time, capturing the audience’s imagination as settings and time zones change from scene to scene.

Authors also need to create compelling place-based settings in their stories. Things to consider when looking at the sense of place in a novel or short story include:

Some stories may also choose to have alternative realities . Alternative reality books followed the true history of the world to a point. Then, they diverge after a fictional event occurs such as a war or natural disaster.

Lastly, some authors want to make the setting of a story ambiguous. This works well in sci-fi and fantasy stories which want to detach themselves from our current world. With such an ambiguous setting, the author could create their own technologies, religions and planets without the need to refer to any contexts of the ‘real’ world here on earth.

2. Characters

The next of the elements of a story is the characters. Of course, characters are one of the most important elements of a novel or short story.

The characters are the people (or sometimes animals!) who are featured in a story. The different characters in a story that you need to know about are: the protagonist, antagonist, static character, dynamic character, and confidante character.

The protagonist is the hero of the story and central character. We’ll also usually call them the ‘main character’. They will get most of the attention of the author. Every narrative – whether it’s a novel or short story – will have a protagonist.

The antagonist is the opponent of the main character. This person stirs trouble and is often the main cause of tension in the plot line. The hero’s role is often to prevent the antagonist from doing harm to people.

There can also be peripheral and dynamic characters . Peripheral characters who don’t change much throughout a story but set the context are often called ‘static characters’. Parents are often seen as static characters in books and movies. They are reliable, always there, but don’t do much to compel the plot forward. By contrast, a dynamic character might start out as an unassuming peripheral person in the story. As the story progresses, they move toward the center of the storyline, become closer to the main character, and increase in importance. 

Lastly, the confidante is the sidekick for the main character. It often takes the role of a wise or philosophical character, although not always. In The Lion King , Timon and Pumba act as confidantes to Simba during his exile years. Other confidantes in that story include Rafiki and Nala.

Also Consider Character Conflicts and Fatal Flaws

Often times a character will have their own inner conflicts, challenges or struggles to overcome. By giving characters inner conflicts they are made more realistic. Flaws in personality traits also humanizes them. A good book will have a range of realistic and flawed characters. For example:

  • Edmund from the Narnia series m ust overcome jealousy to help save Narnia and protect his family;
  • Professor Snape from Harry Potter suffers from an inability to get past his grudges from the past.

3. Conflict

Nobody wants to read a novel or short story without conflict – so you’ll find every story will have some sort of conflict.

What would be the point? The conflict in a story is the main challenge to overcome. It compels the plot forward and is usually resolved during the plot’s climax.

The main types of conflict you will come across in a story are:

  • Protagonist vs Antagonist
  • Protagonist vs Nature
  • Protagonist vs Self
  • Protagonist vs Society

In the protagonist vs antagonist conflict , t he protagonist (hero) must challenge the antagonist in order to prevent the antagonist from doing something harmful. For example, this occurs in Harry Potter. Harry (protagonist) must defeat Voldermort (antagonist). Harry is the only person who can save the world from Voldermort and represents the child savior .

In the protagonist vs nature conflict , the protagonist goes up against a challenge that occurs in nature. This may involve a main character taking on a natural challenge like escaping the jungle, or a natural disaster like a tsunami or asteroid coming at earth.

In the protagonist vs self conflict , the protagonist may have inner struggles to overcome in order to succeed. The protagonist may need to get over a lost love, learn courage, or achieve a personal goal that they set out for themselves in the beginning. For example, this happens in The Wizard of Oz.  Dorothy and her companions each has to learn that the characteristics they most desire are within them. The Cowardly Lion seeks courage, the Tin Man seeks the ability to love, and the Scarecrow seeks intellect.

In the protagonist vs society conflict , the protagonist may identify an enemy or problem in society that they must overcome, often single-handedly. In children’s books, this model is often recast as Child (protagonist) vs. Adults (Society) where the child must save adults from themselves. We see this in the ‘child savior’ complex such as in The Hunger Games .

The next of the story elements is theme. The theme is the author’s central argument or big idea they want to convey.

Themes are often associated with a ‘moral of a story’ or an analogy (a hidden meaning in the text). They attempt to convey a piece of wisdom or fundamental truth about human nature for us to think about. Even in a short story there will be a key theme.

Common types of themes, also known as central ideas , include:

  • Good vs. evil
  • The absurdity of life
  • The pain of war
  • Seeking freedom
  • Political corruption
  • The power of redemption
  • The importance of faith

Most contemporary American movies tell stories of good vs. evil , with good usually triumphing thanks to a heroic protagonist. For example, in Spiderman.

Similarly, love has been a theme throughout millennia in stories. What is true love, how can it be found, and how can we keep it? Perhaps the most famous example is in Romeo and Juliet.

Existentialist literature attempts to expose the absurdity of life , e.g. how life is futile, pointless and meaningless. Two great examples are Rosencrantz and Guildenstern are Dead and   Catch 22 .

Many stories throughout history have been cautionary tales about the pain of war and its devastating effects on life. A compelling example is The Diary of Anne Frank.

The desire for freedom is another common motif in stories and movies. This often involves the struggles in escaping oppression, war or nature. One example of this theme that I love is The Truman Show’s theme .

Stories of political corruption usually highlight how fascism, communism or other political systems lead to concentration of power and corruption. A famous example is Animal Farm by George Orwell.

Often based on Christian beliefs, redemption stories show how characters can come back from sin and shame to redeem themselves through good deeds and repentance. A great example of this is A Christmas Carol by Charles Dickens.

Many tales have morals about religion and faith and the importance of penance to a god as their central theme. A famous example is the short story sets of Sinbad the Sailor’s Seven Voyages.

The next of the story elements is the plot line. The plot is the sequence of events that tell the story.

Sometimes we call it the ‘narrative structure’. Another way to use the term ‘plot’ is to make a plan. For example, “There is a plot to rob a bank.”

Plots usually follow a familiar structure. We tell children that plots have a ‘Beginning’, ‘Middle’ and ‘End’ – and that might be true for a short story:

  • Beginning: Introduce the characters and set the scene;
  • Middle: Introduce a complication and tell the story of how it is overcome
  • Ending: Resolve each character’s individual story and provide a sense of closure.

As students get older, we go into a bit more depth and use more formal terms:

  • Exposition: The exposition begins the story. It provides the necessary background information like the setting and character details. It may also outline the relationships between characters and any other important information. This section should set the scene but also entertain the reader from page one.
  • Rising Action: The rising action part is the part of the story where “the plot thickens”. Challenges, conflicts and complications are introduced during the rising action segment. This is often the longest part of the story. Authors aim to create and build tension as long as possible to entertain the reader and create a true ‘page turner’ of a story.
  • Climax: After rising action comes climax. This is the turning point of the story where the tensions in the plotline come to a head. A good climax may involve a twist or a big reveal. Other examples of a climax might be a big battle, police chase or exposure of a love affair.
  • Falling Action: After the climax comes falling action. I often find the falling action segment is brief but may be necessary to conclude the key scenes that occurred in the climax. During the falling action, tension starts to dissolve
  • Resolution (denoument): The resolution gives a sense of closure to the reader. It may tie up loose ends in character plotlines and explain what becomes of the key characters after the story. To use The Lord of the Rings example, the resolution shows Frodo sailing to the Grey Havens and Sam marrying Rosie Cotton.

6. Point of View

The next of the story elements is point of view. The point of view of a story has a big impact on how the story will be told.

Point of view also influences how the audience will respond to it. There are three common points of view: first person, second person and third person.

First person stories are told by the protagonist. You can tell a first person story from the use of first person phrases like ‘I’ and ‘We’. A benefit of first person point of view is that you can get inside the head of the main character. They can talk about what they’re thinking and what their opinion is of all the other characters throughout the piece.

Second person stories are narrated by an outsider (not a character in the story), but talk directly to the reader. It is like we are in a conversation with the author. This is called ‘breaking the fourth wall’.  An example of second person is when the author directly says ‘you’ to the reader.

Third person stories do not talk directly to the reader and do not insert themselves into the story either. This is the most common type of point of view.  Most third person books have an omniscient narrator. This means the narrator is an all-knowing person who can get into characters’ heads and explain their thoughts. The author tells the story as if looking through a looking glass. They refer to the characters (including the protagonist) using terms like ‘he’, ‘she’ and ‘they’.

Authors choose a tone to act as the backdrop to a story. The tone often overlaps with the protagonist’s mood or circumstance.

Tones include moods like:

  • Intellectual

Some examples of tones in books include:

  • Brave New World: Dystopian
  • The Hitchhiker’s Guide to the Galaxy: Funny
  • Tuesdays with Morrie: Heartwarming

Tone can be conveyed through elements like weather conditions, time of day, and a soliloquy. 

Tone is often conveyed through the weather conditions . Some stories are set in long, endless summers. Others are anticipating an endless winter to come (e.g. Game of Thrones ).  Rain is a good idea for when a character is sad or moody.  By contrast, sunshine will signify happy times.

Similarly, you might want to define the time of day , particularly for one scene or a simple short story Night time might show that the tone is eerie and full of mystery and magic. A warm Evening might set a tone of drowsiness. A morning setting might convey a tone signifying starting afresh and heading out excited for a day’s adventures.

Tone is often also set through the soliloquy of the narrator of a first-person text. A soliloquy is a piece of writing (or speaking) where the author reflects on their moods and thoughts.

Writing style is one of the most important elements of a story, but very personal to each author.

We also tend to find authors whose styles we like and continue to read their works whenever they publish something new. A style is simply a way of speaking about our subjects.

Below are a range of styles to consider:

  • Short sentences: I first came across very short sentences in Hemmingway ’s For Whom the Bell Tolls . Hemminway’s curt writing style comes across as masculine, but is often very easy to read.
  • Highly Descriptive:  When reading The Lord of the Rings , I was bemused at just how long it took JRR Tolkein to describe a fireplace. While I personally prefer a short story, many of the classics have this descriptive style.
  • Fast-Paced: If you like entertaining books, ensure your writing is always compelling the plot forward and not getting into the weeds.

Final Thoughts on Story Elements

Every story should contain the above 8 elements of a story. The eight elements of a story are: character, setting, plot, conflict, theme, point-of-view, tone and style. Make sure you include all 8 elements of a story in the next story you write . For every short story I write, I will start with character, setting and plot then go on from there. Similarly, you can use the 8 story elements as a framework to critique a film or book of your choice. 

infographic listing the 8 elements of a story

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  • Literary Terms
  • Definition & Examples
  • When & How to Write a Character

I. What is Character?

A character is a person, animal, being, creature, or thing in a story. Writers use characters to perform the actions and speak dialogue, moving the story along a plot line. A story can have only one character (protagonist) and still be a complete story. This character’s conflict may be an inner one (within him/herself), or a conflict with something natural, such as climbing a mountain. Most stories have multiple characters interacting, with one of them as the antagonist, causing a conflict for the protagonist.

II. Examples of Character

A popular television series that just ended is the show “Glee.” Each season had popular characters who had to learn to work together to create a good musical production. Various characters underwent a change, making them a dynamic character, such as Noah Puckerman. He appears to carry out the stereotype of a jock (strong but not so smart), but his character changes as it’s revealed that he can be hard working and intelligent.

A movie that features one character throughout most of it is “Castaway” with Tom Hanks. His character is on board a shipping plane when it crashes. He’s the only survivor, trapped on an island for four years. This movie focuses on his psychological (mental) and physical condition as he slowly adapts to a life of isolation, living alone on an island that is off all regular sea and airplane routes. It’s a great example of how a story can work with only one character, although many minor characters appear in the beginning and end.

III. Types of Character

A. major characters.

These are the most important characters in the story. There are two types, of which there may be a couple for each.

  • Protagonist – This is the main character, around which the whole story revolves. The decisions made by this character will be affected by a conflict from within, or externally through another character, nature, technology, society, or the fates/God.
  • Antagonist – This character, or group of characters, causes the conflict for the protagonist. However, the antagonist could be the protagonist, who is torn by a problem within. Most times, something external is causing the problem. A group of people causing the conflict would be considered society, perhaps the members of a team, community, or institution. Additionally, the antagonist could be a part of nature, such as an animal, the weather, a mountain or lake. A different kind of antagonist would be an item such as a pen, car, phone, carpet, etc. These are all considered technology, since they are instruments or tools to complete a job. Finally, if the conflict comes from something out of the character’s control, the antagonist is fate or God.

b. Minor characters

These are the other characters in a story. They are not as important as the major characters, but still play a large part in the story. Their actions help drive the story forward. They may impact the decisions the protagonist or antagonist make, either helping or interfering with the conflict.

Characters can have different traits. Major characters will usually be more dynamic, changing and growing through the story while minor characters may be more static.

  • Foil – A foil is a character that has opposite character traits from another, meant to help highlight or bring out another’s positive or negative side. Many times, the antagonist is the foil for the protagonist.
  • Static – Characters who are static do not change throughout the story. Their use may simply be to create or relieve tension, or they were not meant to change. A major character can remain static through the whole story.
  • Dynamic – Dynamic characters change throughout the story. They may learn a lesson, become bad, or change in complex ways.
  • Flat – A flat character has one or two main traits, usually only all positive or negative. They are the opposite of a round character. The flaw or strength has its use in the story.
  • Round – These are the opposite of the flat character. These characters have many different traits, good and bad, making them more interesting.
  • Stock – These are the stereotypical characters, such as the boy genius, ambitious career person, faithful sidekick, mad scientist, etc.

IV. The Importance of Character

Characters are what make stories. Without a character, there is no story to tell, only a lot of scenery. Many characters in literature, television series, and movies have a huge impact on people. Some people like to live their lives through these characters, who appear to have more exciting lives.  Also, these characters may seem so real and inspirational, that people forget they are fictional.

Characters become so important to the audience, that cities across the country hold conventions in which people pay a lot of money to dress and act as their favorite characters from multiple types of shows, particularly of the comic magazine genre (type of literature).

V. Examples of Character in Pop Culture

The Teenage Mutant Ninja Turtles have been keeping the city safe since the 1980s, but are still just as popular today. They each have their own special fighting method as well as personality. Originally simple, small turtles, they became super human, err turtle, after an accident in which the fish bowl of water they were in got knocked out of their owner’s hands and fell down a sewer grate, along with a canister of radioactive material. The rest is history. Nickelodeon has brought the characters back to fame, as can be seen on the channel and in the Nickelodeon Hotel in Orlando, Florida. The hotel features suites based on characters from the Nickelodeon shows for kids, and kids can interact with their favorite characters, including the Turtles, during breakfast and fun events. It’s clear that characters are an important part of our culture.

The characters are named after famous painters, and each turtle has his own personality to which different kids may relate. For example, Leonardo is the wise leader, the one who can keep the group focused. Raphael is the hothead. His temper wants to get the best of him, just as most of us would like to jump into things! Michaelangelo is the comedian. Like our class clowns in school, he’s the group clown. Finally, no group is complete without the geeky nerd. Donatello is always inventing things to help our turtle heroes in their adventures .

VI. Examples of Character in Literature

A book whose character was inspired by a real teenage girl is “The Fault in Our Stars” by John Green. The protagonist is 16-year-old Hazel, who meets Gus, a fellow 16-year-old cancer patient, at a camp. Their young romance is doomed as they are fighting a losing battle with cancer. Their strong spirits overcome their parents’ fears as the determined Hazel gets her wish to go overseas to meet an author she has long admired. The book has both characters undergoing change, very dynamic, as they struggle to adapt to their fate. The minor characters are impacted by the decisions Hazel and Gus make, giving depth to the story line. This book is an example of how authors take real life situations to create believable and interesting characters. Green’s inspiration for the story, Esther Earl, was a young fan with cancer who had wanted to meet him. He became friends with her and her family. She was diagnosed with cancer at 12 and died at 16.

John Green Discusses the Touching Inspiration Behind 'The Fault in Our Stars'

VII. Related Terms

Archetype: A standard or stock type of character that appears in fiction, such as the villain, the hero, the damsel-in-distress, or the sidekick. Each archetype has more categories within, as well. For example, the villain could be a tyrant, devil, schemer, etc. The hero could be the warrior, proto-female, scapegoat, etc. These are especially common in fairy and folk tales.

VIII. Conclusion

Characters are the whole reason for any story. They can be used to help teach a lesson, to entertain, to educate, and even to persuade, depending on the author’s goal for the story line. Characters can be based on real people and events, or be totally unrealistic, such as space aliens. People become attached to characters as if they are real, may develop favorites, and relate to those that have faced similar situations.

List of Terms

  • Alliteration
  • Amplification
  • Anachronism
  • Anthropomorphism
  • Antonomasia
  • APA Citation
  • Aposiopesis
  • Autobiography
  • Bildungsroman
  • Characterization
  • Circumlocution
  • Cliffhanger
  • Comic Relief
  • Connotation
  • Deus ex machina
  • Deuteragonist
  • Doppelganger
  • Double Entendre
  • Dramatic irony
  • Equivocation
  • Extended Metaphor
  • Figures of Speech
  • Flash-forward
  • Foreshadowing
  • Intertextuality
  • Juxtaposition
  • Literary Device
  • Malapropism
  • Onomatopoeia
  • Parallelism
  • Pathetic Fallacy
  • Personification
  • Point of View
  • Polysyndeton
  • Protagonist
  • Red Herring
  • Rhetorical Device
  • Rhetorical Question
  • Science Fiction
  • Self-Fulfilling Prophecy
  • Synesthesia
  • Turning Point
  • Understatement
  • Urban Legend
  • Verisimilitude
  • Essay Guide
  • Cite This Website

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Blog • Perfecting your Craft

Posted on Sep 17, 2018

Protagonist vs. Antagonist: A Must-Know Literary Pair, Defined

If there’s one thing every story needs, it’s conflict. And while conflict takes many forms , some of literature’s most beloved stories involve conflict in the classic form of the protagonist and antagonist.

Without the white whale, Moby Dick is just a book about a guy who goes sailing and comes home. If there were no Voldemort, Harry Potter  would simply follow the title character through seven boring years of school. Without Sauron and the Ring, the Fellowship would have just been an odd sight-seeing group touring Middle-earth.

And as enjoyable as that may have been for them,  it wouldn't have made a very good story for the rest of us! That's why it's so important to have some kind of conflict — and furthermore, to have real people be involved in some way. This article will look at those people: protagonists and antagonists. Let's find out who they are, how they oppose each other, and what you can do to craft memorable rivalries fo your own stories.

What is a protagonist?

The protagonist is the lead character of a story. The term derives from classical Greek drama, literally meaning “first actor.” Though often referred to as the “hero” of the story, the protagonist isn’t necessarily virtuous, and also may be just one of many protagonists.

Every narrative will have at least one protagonist, who may serve as the narrator as well. If not, the story will typically follow them in third person limited. Alternately, if there are multiple protagonists, the POV often shifts back and forth, whether that's in first person or third person limited . It may be difficult to identify the protagonist(s) immediately, but you usually know within a few chapters.

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Is the protagonist always the main character?

99% of the time. Some people differentiate between “protagonist” and “main character,” saying that the protagonist moves the story forward, while the main character may be anyone who features heavily — but doesn't necessarily drive the narrative.

For example, Scout is the main character of To Kill a Mockingbird,  but some might say Atticus is the true protagonist: his actions drive the story, while Scout is ultimately more of an observer. The same could be said of Nick and Gatsby in  The Great Gatsby,  as Gatsby is the truly active participant in the story, as Nick mostly observes what happens.

However, for almost all intents and purposes, “protagonist” and “main character” are synonymous terms. Then again, if you're a writer, it may be helpful for you to think of your protagonist purely in terms of what they do! If you find yourself with less of a protagonist and more of a passive main character, you might want to reconsider that character's true role and purpose in your story.

Speaking of which, how many ways can protagonists manifest in different narratives? Let's take a look at the three most common types of protagonists in action.

Types of protagonists

1. lonely hero.

The lonely hero is the standard strain of protagonist, probably because it's seen as the most “heroic” type. As the name implies, the lonely hero is the one and only person who can stop evil from triumphing and save the day. Though they’re usually helped by a team of supporting characters , the ultimate burden of the quest falls squarely on the shoulders of the lonely hero. They are the one who must sacrifice the most in order to accomplish their goal.

Examples of lonely hero protagonists:

  • Harry from  Harry Potter
  • Katniss Everdeen from  The Hunger Games
  • Frodo Baggins from  Lord of the Rings
  • Matilda from Matilda
  • Cooper from Interstellar

protagonist

2. Group hero

With group hero protagonists, multiple people are equally involved in the story’s main events and conflict. They may not all serve the same purpose or perform the same tasks but pull together to accomplish a single goal. No one person stands out beyond the rest — or if they do, it's only because the group helped them get there. (Whereas the lonely hero can, and ultimately does, rise to the occasion alone.)

Examples of group hero protagonists:

  • Romeo and Juliet from Romeo and Juliet
  • Violet, Klaus, and Sunny from A Series of Unfortunate Events
  • Fred, Daphne, Velma, Shaggy, and Scooby from  Scooby-Doo
  • Aibileen Clark, Minny Jackson, and Eugenia “Skeeter” Phelan from  The Help
  • The Avengers, from the Marvel comics of the same name

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3. Anti-hero

Although protagonists are usually shown as selfless, kind, and courageous heroes, they can also be bitter, sarcastic, and perhaps less-than-morally-upright. In other words, they might be an anti-hero : a hero without typically “heroic” traits.

An anti-hero often starts out as either an impartial party or a lesser villain who begrudgingly engages in conflict with the main  antagonist — usually because there's something in it for them. However, their lack of truly malevolent convictions typically means that they end up in more neutral or even good territory, if only by accident. (Anti-heroes frequently feature in works of grimdark , which specialize in morally gray characters and situations.)

Examples of anti-hero protagonists:

  • Artemis from  Artemis Fowl
  • Holden Caulfield from The Catcher in the Rye
  • Locke Lamora from the Gentleman Bastards series
  • Thomas Covenant from  The Chronicles of Thomas Covenant

a short story protagonist

Can the protagonist be the bad guy?

Yes! Though not as common as traditional, heroic protagonists, or even anti-heroes with complex motivations, there are some fully malevolent villains that serve as the protagonists of their own stories. Here are some examples of villainous protagonists:

  • Patrick Bateman from American Psycho
  • Alex from A Clockwork Orange
  • The Grinch from  How the Grinch Stole Christmas

Sometimes an evil protagonist undergoes a transformative character arc to become good in the end (as with the Grinch). However, sometimes they remain just as monstrous as ever (often a sign of sociopathy, as in the first two examples).

If you're writing a villainous protagonist, just remember that, even if they don't get a redemption arc, they still need to be compelling to readers in some  way. Perhaps they have a delightfully twisted inner monologue, or a weakness that they fear will be found out. Maybe you're writing satire and want to see how far you can push the limits of the genre. But whatever you do, your protagonist cannot be flat or uninteresting — otherwise readers won't understand why you're telling their story in the first place.

Now that we’ve seen who’s standing in the protagonist corner, let’s take a look at those on the opposite side.

What is an antagonist?

The antagonist is the primary opponent of the protagonist, and the biggest obstacle standing between the main character and their goal. This term also derives from Greek: anti, meaning “against,” and agonist, meaning actor.

Like the protagonist, the antagonist can take many different forms. From the traditional villain working alone, to a group of people, a force of nature, or even an intrinsic conflict, the one uniting factor of all antagonists is that they challenge the protagonist in some way. Let’s venture over the dark side for a bit to see how antagonists can take shape, with the four most common types of antagonists.

Types of antagonists

When you think "antagonist," the first thing that comes to mind is probably a classic evil-doing character. This is, of course, the villain antagonist seen so often in stories from Dickens to Disney. Not only do the villain's goals oppose the protagonist's, they are also actively working against them in order to fulfill their own — often selfish or wicked — ambitions.

The villain may have a longstanding grudge against the protagonist and are out for revenge (think Syndrome in The Incredibles ). They may simply want to watch the world burn while the protagonist wants to maintain order (think the Joker in The Dark Knight ).  But whatever their motives (or lack thereof), there's no doubt about the fact that they're a villain through and through.

Examples of classic villain antagonists:

  • Voldemort from  Harry Potter
  • Darth Vader from  Star Wars
  • Hans Gruber from  Die Hard
  • Sauron from  Lord of the Rings
  • Cruella de Vil from  One Hundred and One Dalmatians

antagonist

2. Group villain

Of course, just as with protagonists, an antagonist doesn’t have to be one person working alone. It can be an entire group or entity that actively opposes the protagonist. This is the group villain, and though it may have a distinct face or figurehead, the group itself is recognized as the real bad guys.

The group villain usually represents political values and social mores that clash with the protagonist's in a drastic way. As you might expect, the group villain often features in dystopian works , such as those listed below. Group villains can also appear in a more “typical” way, as simply a group of villains — however, this is pretty much exclusive to superhero comics and movies.

Examples of group villain antagonists:

  • The Community from  The Giver
  • The Capitol from  The Hunger Games
  • The Republic of Gilead from  The Handmaid's Tale

3. Inanimate forces

Though not as common as human antagonists, inanimate forces — such as nature, technology, or the supernatural — can also create resistance that the protagonist needs to overcome. The inanimate force antagonist may take a form akin to a human figure (as with the Terminator below), but as with the group hero's face/figurehead, this form is only a stand-in for the protagonist's true enemy.

Such inanimate forces may be on par with the unfathomably terrifying threats of cosmic horror , or they may be as mundane as bad weather. But either way, this force blocks the protagonist's path to victory and must be neutralized before they can succeed.

Examples of Inanimate Forces as antagonists:

  • Nature in Robinson Crusoe
  • Technology in the Terminator franchise
  • The supernatural in the short story “The Masque of the Red Death”

a short story protagonist

To see how landscape figure as a villain, check out these 10 post-apocalyptic novels  to read before the world ends.

4. Intrinsic forces

This is another type of antagonist that isn't a character, but rather one of the protagonist’s own shortcomings that keeps them from achieving their goals. An intrinsic force drives the “character vs. self” conflict you'll sometimes see in stories. This may be a personality flaw or some sort of physical disadvantage, but it's something the protagonist (and those around them) must defeat — or give into, especially if they have a hero-to-villain arc.

The other thing to remember about the intrinsic force antagonist is that it may not be the only  anatagonist in a story. Often, a character has to grapple with an internal issue and combat an external force at the same time — for example, Frodo battling both his own desire for the ring AND his ultimate enemy, Sauron.

Examples of intrinsic forces as antagonists:

  • Elizabeth's prejudice in  Pride and Prejudice
  • The narrator's paranoia in Edgar Allan Poe's  The Tell-Tale Heart
  • Henry DeTamble’s uncontrollable time-traveling in The Time Traveler’s Wife

Can the antagonist be the good guy?

Sometimes — or at the very least, the antagonist isn't always as bad as we think they are. Oftentimes, a traumatic past explains why they act the way they do. Or they might want to be good, but got started down the wrong path and now believe it's too late to change

For a character to be considered an antagonist, they only really need to meet one piece of criteria: their goals must conflict with the protagonist’s goals. To show you what we mean, here are some not-evil-on- purpose antagonists:

  • Every other character besides Holden in The Catcher in the Rye
  • Javert from Les Miserables

What about anti-villains?

An anti-villain is slightly different from a “good” antagonist who just happens to oppose the protagonist. The anti-villain is undeniably villainous in behavior, but their motivations make us think twice about how to label them.

Killmonger from Black Panther  is a quintessential anti-villain. His reason for wanting to take over Wakanda is highly justifiable: to redistribute its resources to oppressed people around the world. However, his methods are too extreme and would ultimately cause greater violence — which is why T'Challa must oppose him.

Now, since these characters can be the difference between a memorable story and a forgettable one, we'll provide some essential ground rules to help you create a legendary fictional rivalry.

How to write a protagonist

1. give them purpose.

As the main character of your story, your protagonist needs a reason to do what they do in the scope of the story. Whether shallow or deep, they require some kind of motivation to set the story in motion.

For example, Frodo lived uneventfully in the Shire for many years before finding a greater purpose: destroying the One Ring. This mission is the starting point of his adventure and sets the events of the Lord of the Rings into motion.

protagonist

2. Don’t make them perfect

Nothing is more boring than reading about a protagonist who checks all the clichéd boxes of a standard archetype, without any defining characteristics that add a new twist. Yes, you might  start  with an archetype as your base, but you need to really develop them from there into someone unique.

A compelling protagonist must be complex , with flaws like any other person. These flaws can become one of your most powerful allies because they can — and should! — affect your protagonist’s actions and decisions.

Is your protagonist too trusting? Too impulsive? Too reckless? Perhaps too honest? These are only a few of the many issues that can get your character into a lot of trouble, and ones they need to overcome throughout the story.

3. Let them change

Another frustrating thing for readers is protagonists who don't change in any way throughout the story — especially if it's a multi-book series. This ties into our previous tip, because obviously a protagonist who's too perfect isn't going to be able to evolve. However, any kind of static character pales in comparison to a dynamic one. The more you allow your protagonist to change and grow, the more excited readers will be to follow their story.

protagonist

How to write an antagonist

1. give them backstory.

Why does your antagonist want to foil the protagonist? What is their ultimate goal? Just like your protagonist, your antagonist also needs motivation — and explanation for  that motivation. Don’t just create an antagonist for the sake of having a villain. They need both purpose and backstory to be believable and legitimate as a character.

For example, Magneto from the X-Men series is the antagonist of the story. But a glimpse into his past reveals pain and suffering that, understandably, led him to the belief that mutants are superior to humans. He still acts as the evil antagonist, but his backstory gives the reader a reason for his behavior, which makes the whole story much more compelling.

antagonist

2. Don’t make them too weak (or too powerful)

How might your antagonist be defeated? While it’s true that your antagonist needs to create trouble for your protagonist, and that they will — most likely — be defeated at the end, there needs to be a balance between their strengths and their weaknesses.

If your antagonist is defeated too easily, then the story won’t be satisfying for readers. However, if they're too difficult to defeat, your story might never end (or end on an unrealistic note). Again, no character should be perfect, and that includes your antagonist.

Curious about the psychology of real-life villains? Try checking out a few true crime books to get a feel for their motivations and inner lives.

3. Embrace unusual antagonists

How does the story’s rivalry push or challenge your protagonist? Antagonists such as nature or technology don’t need to be defeated, per se. Instead, their purpose is to show how the protagonist deals with conflict.

For instance, the main antagonist in The Curious Case of Benjamin Button is his backward aging. It cannot be overcome or defeated, but it pushes the story forward by creating conflict, as seen through the struggle that Benjamin undertakes.

a short story protagonist

Keeping this in mind, let's see how a few authors famously secured their protagonists and antagonists in the public consciousness forever.

More examples of protagonists and antagonists

1. pride and prejudice.

Protagonist: Elizabeth Bennet Antagonist: Her prejudice (particularly against Darcy) Rivalry: Though Jane Austen introduces several smaller obstacles between Elizabeth and Darcy — Lady Catherine de Bourgh, Caroline Bingley, Mr. Collins, and George Wickham — the truth is that the main obstacle between Elizabeth and Darcy is their pride and prejudice, which they must overcome in order to be together.

a short story protagonist

2. The Strange Case of Dr. Jekyll and Mr. Hyde

Protagonist: Dr. Jekyll Antagonist: Mr. Hyde Rivalry: It’s a conflict between good and evil — but the main problem at hand is that Jekyll and Hyde are the same person! Burdened by his own poor behaviors, Dr. Jekyll undertakes experiments in order to separate his good and evil sides. The result is the appearance of Mr. Hyde. Their tale not only deals with the eternal rivalry between good and evil, but also with the duality of human nature.

3.  Infinity War

Protagonist:  A veritable hoard of Marvel superheroes Antagonist:  Thanos Rivalry:  In a great example of a group protagonist facing off against a single supervillain, we have literally all the Avengers, the Guardians of the Galaxy, AND Wakandans battling Thanos, who wants to destroy half the Earth's population with the Infinity Stones. When aiming for cinematic splendor, you can't go wrong with a collective protagonist!

antagonist

Whether you have the traditional hero-villain character dynamic, or a non-traditional character rivalry, remember to make full use of the conflict their interactions generate in order to move your story along. By creating complex characters , you will find it much easier to develop an interesting plot and bring your story to life.

What are your favorite protagonist and antagonist rivalries? Let us know in the comments below!

2 responses

Krissmanso says:

24/12/2018 – 02:48

That great? This post refiled that the protagonist is the actor, while the antagonist, the enemy to the actor. Thanks for helping new authors.

Chris Lee says:

02/08/2020 – 12:38

With Avengers Infinity War, Thanos is the character with a goal and the Avengers are working to stop him. Thanos is the protagonist and the Avengers are the antagonists. Thanos even achieves his goal, completing the goal he set out to achieve.As opposed to Batman Returns where The Penguin is the protagonist and Batman is the antagonist, but Batman stops him from achieving his goal in that case.

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What is a Protagonist?

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Wondering just what a protagonist means? Today we’ll look in depth at what a protagonist is and isn’t.

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a short story protagonist

Webster’s defines the term Protagonist as “the principal character in a literary work (such as a drama or story)”, insofar as literary texts are concerned.

In short, it’s the main character of your fictional work, or the central figure of your non-fiction. So, there we are. End of discussion, right? Wrong!

The protagonist is the center of all action in a story. Without them, there is no story at all. So, what makes the protagonist what they are? Let’s start by setting down the things the protagonist is not.

You, the writer, are not the protagonist

a short story protagonist

There is an urge every writer feels – to include themselves in the story. We are, after all, the protagonists of our own lives. Our actions and the motivations behind them propel our stories forward in time, space, and spirit.

We are the lead character with which we are most familiar, so it stands to reason that the easiest way to build a protagonist is to project ourselves into the story. Don’t fall into this temptation – it’s not just cheating, it’s bad form for fiction. There is plenty of room in the halls of essayists and autobiographers for putting yourself and your thoughts in front of an audience.

When writing fiction of any length, do your best to keep yourself in the background. Your voice as a writer will come through your language, and your values will be present there as well.

The protagonist isn’t always the good guy…

a short story protagonist

Pick a Clint Eastwood movie. Just about any of them. Dirty Harry. The Good, the Bad, and the Ugly. The Outlaw Josie Wales. The parts Eastwood plays are protagonist roles – but he’s hardly a good guy, or a hero.

The anti-hero is not a new phenomenon, but it’s one that’s held dear for many reasons. People use writing for many things, but the most common is to explore facets of the human condition that are either plagued with mystery or require a deal of unpacking to understand.

Writers started making anti-heroes because art reflects life, and the artists were beginning to realize that the defining line between what’s good and what’s evil is hardly ever distinct.

Your protagonist might be as wholesome as sliced bread, but there is a much better chance that they are as flawed and problematic as any other regular person in the world.

A drug dealer who wants out of the game but keeps falling back in, an addict who keeps trying and failing at getting their life together and damages the lives of those they care for; victims, users, losers, and so on. Your protagonist need not be a knight in shining armor.

The protagonist isn’t perfect

Even if your protagonist is a literal knight in shining armor, the protagonist always needs to be flawed in some way. Part of their motivation – and, I should think, part of our motivation as writers and people in general – is to become better than we are. The external conflict of the story, then, isn’t enough.

The protagonist needs some inner turmoil rolling around under their skin to battle. A cop who struggles with addiction. A teacher with anger management issues. A community activist who turns a blind eye to where donations come from.

Flaws adds realism and depth to the character, making them multidimensional beings with lives of their own instead of cardboard finger puppets.

Now that we’ve talked about what a protagonist is not, let’s talk about some other things that make a protagonist stand out.

The protagonist is the central figure of your story

a short story protagonist

Not only is your protagonist the center of the world of your story, they are the driving force behind its forward momentum. They are what gets you from plot point A to point Z with all the B’s, C’s, and D’s in the middle.

For the story to work, you have to focus on one voice as primary, and their focus should be maintaining the tempo of action necessary to consummate the story’s inevitable conclusion.

Are there other characters that play a pivotal role in the protagonist’s life and the life of the story? Absolutely, and they are almost as important as the protagonist in many ways. But your protagonist is always the one in the driver’s seat, even if they need to stop and ask for directions from time to time. { See related post: Main Characters vs. Supporting Characters }

The protagonist is always active

a short story protagonist

It’s true. Things happen to the characters in your story. But for your story to move forward, and your main character to do their job, it is necessary for the balance of action to be them happening to the world around them. Your main character cannot be stationary.

If they don’t move, neither does the story. Remember to maintain active voice throughout the entirety of your writing – if your narration is active, your protagonist will be active, and your story will continue moving in the right direction.

But don’t forget, the protagonist’s actions are always done for a reason. You wouldn’t rip all the grass out of your yard just to do it, right? Same reasoning applies here. There must be a reason for every action the protagonist takes. It doesn’t always need to be a good reason, but the thought has to be there.

There is another reason why your protagonist needs to stay on the active side of things. It’s good writing.

When your protagonist acts, and does so according to whatever code of morals to which they subscribe, your story will present opportunities to show what your character is like – which is great, because telling is cheating.

If you are writing your characters well, you will never have to explain their personalities. It will show in their actions and reactions to the goings-on of the world around them. Having a scene where your main character volunteers in a soup kitchen does more than just saying they have a generous nature and spend lots of time working with charitable organizations. Like in the real world, talk is cheap.

If you want your readers to know, show them!

The protagonist is who they are

If you make a protagonist that is an anti-hero, forcing them to play to a code that sits outside their reality is going to make your writing feel forced.

The whole idea of suspension of disbelief hinges on the personalities within your story, which is why we can immerse ourselves in the most unrealistic of fantasies, but gladly let down the filters our minds construct in order to distinguish reality from fiction.

It isn’t the settings, the magic, or even the prose. It’s the personae that populate your story that make it believable, and the protagonist is the most important part.

Do you have any questions about what a protagonist is and isn’t? Share your thoughts in the comments section below!

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Bill comes from a mishmash of writing experiences, having covered topics ranging from defining thematic periodicity of heroic medieval literature to technical manuals on troubleshooting mobile smart device operating systems. He holds graduate degrees in literature and business administration, is an avid fan of table-top and post-to-play online role playing games, serves as a mentor on the D&D DMs Only Facebook group, and dabbles in writing fantasy fiction and passable poetry when he isn’t busy either with work or being a husband and father.

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Screen Rant

Stephen king's new tv show is great news for his forgotten short story.

The most recent Stephen King novel is getting a TV adaptation, and it's great news for a forgotten short story starring the same character.

  • Stephen King's novel "Holly" is being adapted into a TV show, starring recurring character Holly Gibney.
  • Holly has already appeared in TV adaptations of "Mr. Mercedes" and "The Outsider," played by different actors.
  • An adaptation of "If It Bleeds," a novella featuring Holly, would complete her appearances in other media and bring the collection of the same name to a full circle.

One more Stephen King novel is getting a TV adaptation, and this is great news for a forgotten short story starring the same character. For decades, Stephen King has terrorized generations of viewers and allowed them to explore different fears and meet a variety of monsters, both human and supernatural. With over 60 published works, King's stories continue to be adapted to other media, with some novels even being adapted more than once (as is the case for Carrie and IT ), though some more successfully than others.

Despite the richness of King's world and novels, not all adaptations have succeeded in replicating the quality of the source material – but those that succeeded ended up becoming classics and even some of the best works of their genre. The latest addition to the long list of Stephen King adaptations is Holly , starring Holly Gibney, a recurring character in King's novels. This is not Holly's first adventure beyond the book pages, and because of this, it’s great news for a forgotten short story that could bring a collection of King stories to a full circle.

Stephen King Speaking in front of a stylized film reel backgroundStephenKing

10 Stephen King Adaptations That King Himself Criticized

Stephen king's “holly” novel is being adapted into a tv show, holly is the latest stephen king novel to get a tv adaptation..

Stephen King Holly book cover

Stephen King’s Holly was published in 2023 and was an instant success, so it’s not surprising that it was quickly picked up for a TV adaptation. Holly is a crime novel starring Holly Gibney, who was introduced in the 2014 novel Mr. Mercedes . Holly sees the title character as a solo private detective struggling with her career due to the COVID-19 pandemic, especially after her mother’s death due to COVID. Holly ends up accepting a case when Penny Dahl desperately asks for her help to find her missing daughter, Bonnie. However, the case turns out to be more complex than expected, and Holly summons her talents to outthink the twisted minds behind Bonnie’s disappearance.

During a Q&A at Chicago Printers Row Lit Fest (via CinemaBlend ), director Jack Bender announced a TV adaptation of Holly , but didn’t give more details about the project. After her appearance in Mr. Mercedes , Holly Gibney appeared in the novels Finders Keepers and End of Watch , the two other books in the Bill Hodges trilogy. Holly later appeared as a supporting character in the novel The Outsider and led the novella If It Bleeds . Holly has become a popular character among King’s fans, and King himself has shared his love for the character a couple of times.

“If It Bleeds” Is The Only Holly Gibney Story Without Any Adaptations

Holly’s adventures have already gotten adaptations, except for one..

Ben Mendehlson talking to his friend outside the house in The Outsider

Holly won’t be the character’s first adaptation to TV, as she has already been adapted to TV twice. Holly Gibney made her TV debut in 2017 in Mr. Mercedes , where she was played by Justine Lupe. Mr. Mercedes ran for three seasons, each one covering one of the novels in the Bill Hodges trilogy mentioned above. Another version of Holly Gibney arrived in 2020 with the TV adaptation of The Outsider , where she was played by Cynthia Erivo. This version of Holly was reworked and didn’t keep the continuity of Mr. Mercedes or the Bill Hodges novels, but she was still very well received.

Why There Were Two Simultaneous TV Versions Of One Stephen King Character

With all the Bill Hodges novels covered in Mr. Mercedes and The Outsider being adapted to TV as well, the only Holly Gibney story waiting for an adaptation is If It Bleeds . The novella is part of the collection of the same name, and it follows Holly as she sees footage of a school bombing on TV and suspects there’s something odd about the reporter who is first on the scene, and that he might be a supernatural being.

An “If It Bleeds” Adaptation Would Bring The Collection To A Full Circle

Almost all stories from if it bleeds have been adapted to other media..

An adaptation of If It Bleeds would not only complete Holly Gibney’s adaptations to other media, but it would also bring the collection of the same name to a full circle. The other novellas in the If It Bleeds collection are Mr. Harrigan’s Phone , The Life of Chuck , and Rat , and they have all gotten adaptations to other media or are in the process of getting one. Mr. Harrigan’s Phone was adapted to film in 2022, directed by John Lee Hancock, and released on Netflix.

The Life of Chuck is getting a film adaptation with Mike Flanagan in charge of writing and directing the project. The Life of Chuck will star Tom Hiddleston as Charles “Chuck” Krantz, and at the time of writing, it doesn’t have a projected release date yet. Rat is also in the process of getting an adaptation after Ben Stiller optioned the story with plans to direct, produce, and star in a film adaptation of it (via Bloody Disgusting ) – however, there haven’t been updates on the project since then.

If Rat moves forward, If It Bleeds would be the only novella in the collection waiting for an adaptation. The success of Holly could be what If It Bleeds needs to finally be adapted to either film or TV, and given the popularity of the character in her appearances in the books and her TV adaptations, it might not be long until If It Bleeds is finally picked up.

Sources: CinemaBlend , Bloody Disgusting .

  • Newsletters

Google’s Gemini is now in everything. Here’s how you can try it out.

Gmail, Docs, and more will now come with Gemini baked in. But Europeans will have to wait before they can download the app.

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In the biggest mass-market AI launch yet, Google is rolling out Gemini , its family of large language models, across almost all its products, from Android to the iOS Google app to Gmail to Docs and more. You can also now get your hands on Gemini Ultra, the most powerful version of the model, for the first time.  

With this launch, Google is sunsetting Bard , the company's answer to ChatGPT. Bard, which has been powered by a version of Gemini since December, will now be known as Gemini too.  

ChatGPT , released by Microsoft-backed OpenAI just 14 months ago, changed people’s expectations of what computers could do. Google, which has been racing to catch up ever since, unveiled its Gemini family of models in December. They are multimodal large language models that can interact with you via voice, image, and text. Google claimed that its own benchmarking showed that Gemini could outperform OpenAI's multimodal model, GPT-4, on a range of standard tests. But the margins were slim. 

By baking Gemini into its ubiquitous products, Google is hoping to make up lost ground. “Every launch is big, but this one is the biggest yet,” Sissie Hsiao, Google vice president and general manager of Google Assistant and Bard (now Gemini), said in a press conference yesterday. “We think this is one of the most profound ways that we’re going to advance our company’s mission.”

But some will have to wait longer than others to play with Google’s new toys. The company has announced rollouts in the US and East Asia but said nothing about when the Android and iOS apps will come to the UK or the rest of Europe. This may be because the company is waiting for the EU’s new AI Act to be set in stone, says Dragoș Tudorache, a Romanian politician and member of the European Parliament, who was a key negotiator on the law.

“We’re working with local regulators to make sure that we’re abiding by local regime requirements before we can expand,” Hsiao said. “Rest assured, we are absolutely working on it and I hope we’ll be able to announce expansion very, very soon.”

How can you get it? Gemini Pro, Google’s middle-tier model that has been available via Bard since December, will continue to be available for free on the web at gemini.google.com (rather than bard.google.com). But now there is a mobile app as well.

If you have an Android device, you can either download the Gemini app or opt in to an upgrade in Google Assistant. This will let you call up Gemini in the same way that you use Google Assistant: by pressing the power button, swiping from the corner of the screen, or saying “Hey, Google!” iOS users can download the Google app, which will now include Gemini.

Gemini will pop up as an overlay on your screen, where you can ask it questions or give it instructions about whatever’s on your phone at the time, such as summarizing an article or generating a caption for a photo.  

Finally, Google is launching a paid-for service called Gemini Advanced. This comes bundled in a subscription costing $19.99 a month that the company is calling the Google One Premium AI Plan. It combines the perks of the existing Google One Premium Plan, such as 2TB of extra storage, with access to Google's most powerful model, Gemini Ultra, for the first time. This will compete with OpenAI’s paid-for service, ChatGPT Plus, which buys you access to the more powerful GPT-4 (rather than the default GPT-3.5) for $20 a month.

At some point soon (Google didn't say exactly when) this subscription will also unlock Gemini across Google’s Workspace apps like Docs, Sheets, and Slides, where it works as a smart assistant similar to the GPT-4-powered Copilot that Microsoft is trialing in Office 365.

When can you get it? The free Gemini app (powered by Gemini Pro) is available from today in English in the US. Starting next week, you’ll be able to access it across the Asia Pacific region in English and in Japanese and Korean. But there is no word on when the app will come to the UK, countries in the EU, or Switzerland.

Gemini Advanced (the paid-for service that gives access to Gemini Ultra) is available in English in more than 150 countries, including the UK and EU (but not France). Google says it is analyzing local requirements and fine-tuning Gemini for cultural nuance in different countries. But the company promises that more languages and regions are coming.

What can you do with it? Google says it has developed its Gemini products with the help of more than 100 testers and power users. At the press conference yesterday, Google execs outlined a handful of use cases, such as getting Gemini to help write a cover letter for a job application. “This can help you come across as more professional and increase your relevance to recruiters,” said Google’s vice president for product management, Kristina Behr.

Or you could take a picture of your flat tire and ask Gemini how to fix it. A more elaborate example involved Gemini managing a snack rota for the parents of kids on a soccer team. Gemini would come up with a schedule for who should bring snacks and when, help you email other parents, and then field their replies. In future versions, Gemini will be able to draw on data in your Google Drive that could help manage carpooling around game schedules, Behr said.   

But we should expect people to come up with a lot more uses themselves. “I’m really excited to see how people around the world are going to push the envelope on this AI,” Hsaio said.

Is it safe? Google has been working hard to make sure its products are safe to use. But no amount of testing can anticipate all the ways that tech will get used and misused once it is released. In the last few months, Meta saw people use its image-making app to produce pictures of Mickey Mouse with guns and SpongeBob SquarePants flying a jet into two towers. Others used Microsoft’s image-making software to create fake pornographic images of Taylor Swift .

The AI Act aims to mitigate some—but not all—of these problems. For example, it requires the makers of powerful AI like Gemini to build in safeguards, such as watermarking for generated images and steps to avoid reproducing copyrighted material. Google says that all images generated by its products will include its SynthID watermarks. 

Like most companies, Google was knocked onto the back foot when ChatGPT arrived. Microsoft’s partnership with OpenAI has given it a boost over its old rival. But with Gemini, Google has come back strong: this is the slickest packaging of this generation’s tech yet. 

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IMAGES

  1. What Is a Protagonist? Definition, Examples & How To Write Them Effectively

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  5. What is the Protagonist in a Story?

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COMMENTS

  1. How to Write a Short Story: The Short Story Checklist

    Your short story has one clear protagonist who is usually the character changing most. Your story has a clear antagonist, who generally makes the protagonist change by thwarting his goals. (Possible exception to the two short story writing tips above: In some types of Mystery and Action stories, particularly in a series, etc., the protagonist ...

  2. 12 Types of Characters Every Writer Should Know

    1. Protagonist The protagonist is likely a pretty familiar concept for most of us: this is the main character, the big cheese, the star of the show. Most of the action centers around them, and they're the one we're meant to care about the most.

  3. 9 Key Elements of a Short Story: What They Are and How to Apply Them

    The Key to Compelling Stories: It's NOT Dun, Dun, DUUN! When I first started writing, I mainly worked on horror short stories. I wanted to create that dun, dun, DUUUN! moment at the end of all of them. You know the one. In the movies it's where the screen goes to black and you're left feeling goosebumps.

  4. Protagonist

    Resources Protagonist Definition What is a protagonist? Here's a quick and simple definition: The protagonist of a story is its main character, who has the sympathy and support of the audience. This character tends to be involved in or affected by most of the choices or conflicts that arise in the narrative.

  5. Top 10 Protagonist Examples from Literature and TV

    This emotional story first came on the literary scene as a series of short stories, and it remains one of the best-known works of literature in modern times. 6. Othello. Othello is the main character in another William Shakespeare play by the same name. Othello works against the protagonist Iago.

  6. Protagonist in Literature: Definition & Examples

    The protagonist (pro-TAG-uh-nist) is the main character in a story. Also called the central character, focal character, primary character, or hero, the protagonist plays a key role in a narrative 's development because the story revolves around them.

  7. What is a Protagonist? Definition, Examples, and Tools

    A protagonist is the main character of a story. They're also known as the story's hero. Their actions and motivations are what propel the plot forward, and their conflict with the antagonist is the dramatic center of a story. As the leading character, the protagonist becomes the lens through which the reader experiences the story's world.

  8. How to Write A Great Protagonist: 5 Steps for Creating an Unforgettable

    1. Make Them Relatable (That Means Flawed) Even in film adaptations of classic comic books, producers have started making our ultimate heroes a bit more human. That's because protagonists just aren't interesting if we can't relate to them somehow. And if we can't relate, we can't be emotionally invested in their stories.

  9. What is a Protagonist? || Definition & Examples

    The very short answer is that the protagonist is the main character. That definition works well as a shorthand version, but let's add a little more nuance. The protagonist is the character who drives the action--the character whose fate matters most.

  10. How to Write a Short Story: A 6 Step Guide with Examples

    As we've already discussed, short stories have a limited word count, so always have that at the forefront of your mind, and don't go overboard with multiple character arcs and story lines. 2. Crafting Your Characters. While we're on the subject of characters, let's go onto character development within your short story.

  11. How to Create a Successful Protagonist

    A protagonist is driven by an everyday want, hope, or fear. In other words, a protagonist isn't simply pushed along by plot-level motivation and conflict but by a clearly defined internal motivation. What kind?

  12. Protagonist

    Protagonist Definition. A protagonist is the central character or leading figure in poetry, narrative, novel or any other story.A protagonist is sometimes a "hero" to the audience or readers. The word originally came from the Greek language, and in Greek drama it refers to the person who led the chorus. Later on, the word started being used as a term for the first actor in order of ...

  13. Writing 101: All the Different Types of Characters in Literature

    Last updated: Sep 2, 2021 • 7 min read At the core of all great storytelling lies a compelling array of character types. A main character should be three dimensional and compelling; they should be the kind of dynamic character that readers and viewers can spend days with and not grow bored.

  14. How to Identify the Protagonist in a Story

    The protagonist faces challenges, particularly the central challenge or conflict within the story. The protagonist wants or needs something (has a goal). The antagonist's actions are interfering with the protagonist's ability to achieve the goal. The protagonist makes choices or decisions, which are usually difficult.

  15. The 8 Elements of a Story

    By Chris Drew (PhD) / July 16, 2023 / Leave a Comment. The 8 elements of a story are: character, setting, plot, conflict, theme, point-of-view, tone and style. These story elements form the backbone of any good novel or short story. If you know the 8 elements, you can write and analyze stories more effectively.

  16. Character: Definitions and Examples

    I. What is Character? A character is a person, animal, being, creature, or thing in a story. Writers use characters to perform the actions and speak dialogue, moving the story along a plot line. A story can have only one character (protagonist) and still be a complete story.

  17. What is a Protagonist

    A protagonist is a character who pushes a story forward. He or she is also the central force of the story. Derived from the Greek words prōtos and agōnistēs, it quite literally translates to "first actor.". Not every story has to have a protagonist though.

  18. Protagonist vs. Antagonist: A Must-Know Literary Pair, Defined

    Harry Potter: undoubtedly one of the most famous "lonely hero" protagonists of all time. (Image: Warner Bros) 2. Group hero. With group hero protagonists, multiple people are equally involved in the story's main events and conflict. They may not all serve the same purpose or perform the same tasks but pull together to accomplish a single goal.

  19. What Is a Protagonist?

    Shundalyn Allen Updated on April 8, 2022 Writing Tips Protagonist comes from a Greek word for the principal actor in a drama. In modern literature, the protagonist drives the story forward by pursuing a goal. The protagonist of a story is sometimes called the main character. The protagonist of a story is opposed by an antagonist.

  20. 101 protagonist and antagonist Ideas For Compelling Characters

    Protagonist Ideas 1. A young detective who is trying to solve a case that has haunted them for years. 2. An aspiring musician trying to make it big in the music industry. 3. A scientist who is determined to find a cure for a deadly disease. 4. An adventurer who is exploring uncharted territories. 5.

  21. Short Stories Classified by Characters and Environments

    SHORT STORIES CLASSIFIED BY CHARACTERS AND ENVIRONMENTS. Nearly all the short stories have characters that define them, and the same happens with the environment where the story takes place. We have classified our stories to help you to find children´s favorite stories based on the character and the environment. Hope you enjoy them:

  22. What is a Protagonist? More Than a Main Character

    Today we'll look in depth at what a protagonist is and isn't. Webster's defines the term Protagonist as "the principal character in a literary work (such as a drama or story)", insofar as literary texts are concerned. In short, it's the main character of your fictional work, or the central figure of your non-fiction. So, there we are.

  23. Your Story #129

    Moriah Richard. Feb 11, 2024. Prompt: Write a drabble—a short story of exactly 100 words—based on the photo prompt below. You can be funny, poignant, witty, etc.; it is, after all, your story. Email your submission to [email protected] with the subject line "Your Story 129." No attachments, please.

  24. Stephen King's New TV Show Is Great News For His Forgotten Short Story

    Holly is a crime novel starring Holly Gibney, who was introduced in the 2014 novel Mr. Mercedes. Holly sees the title character as a solo private detective struggling with her career due to the COVID-19 pandemic, especially after her mother's death due to COVID. Holly ends up accepting a case when Penny Dahl desperately asks for her help to ...

  25. A complete guide to the Year of the Dragon 2024: 10 essential reads

    Read the full story. 8. Why you should pay your debts before Chinese New Year. The rear entrance of the Standard Chartered Bank Building, in Central, was daubed with red paint in 2005, allegedly ...

  26. Google's Gemini is now in everything. Here's how you can try it out

    February 8, 2024. Google. In the biggest mass-market AI launch yet, Google is rolling out Gemini, its family of large language models, across almost all its products, from Android to the iOS ...

  27. Dakota Johnson And Sydney Sweeney Can't Save The Tangled ...

    The new Marvel film starts off with plenty of potential, but quickly falls short with its overall story and its character development.