Defining your protagonist's object of desire

Behind every memorable protagonist lies a burning desire, a yearning that propels them forward, steers their course and ignites their actions. Defining this object of desire is crucial in crafting a compelling narrative. But what do we mean by an 'object of desire'? And why is the difference between internal and external desires so important?

Understanding internal and external desires – a quick guide

In storytelling, an object of desire is a deep-seated longing or goal that shapes a character's motivations and actions. This can be split into two main types: internal and external desires.

Think of an iceberg. The external desire is the visible peak jutting above the water – tangible and overt, driving the plot. The internal desire, on the other hand, is the mass below the surface – hidden, profound, and driving the character's emotional journey.

For instance, Harry Potter's external desire might be to defeat Voldemort, while his internal desire is to find a place he truly belongs.

Internal desires – the heart's hidden whispers

Internal desires are the deep-seated, often subconscious needs that steer a character's emotional journey. They are the silent yearnings that tug at the heartstrings, be it a longing for acceptance, a need for redemption, or a quest for self-discovery.

They're vital to the narrative as they add depth to your protagonist, humanising them and enabling readers to connect more intimately. A classic example is Elizabeth Bennett in Pride and Prejudice. On the surface, she desires independence and an escape from societal constraints. However, her internal desire is to marry for love, not wealth or status.

💡 Read more: Internal objects of desire.

External desires – the visible voyages

External desires are tangible goals that the protagonist consciously pursues. They're the visible quests that drive the plot, whether winning a championship, solving a mystery, or saving the world.

These desires are important as they create conflict, advance the plot, and provide a clear path for the protagonist. A great example is Frodo Baggins in The Lord of the Rings. His external desire is straightforward: destroy the One Ring.

💡 Read more: External objects of desire.

Balancing internal and external desires – the yin and yang of storytelling

The art of storytelling requires a delicate balance of internal and external desires. The internal desire propels character development, while the external desire drives the plot.

This harmony is beautifully illustrated in The Hunger Games. Katniss Everdeen's external desire is to survive the deadly games, but her internal desire is to protect her younger sister at all costs, painting a compelling picture of a character caught between survival and love.

Bringing object of desire to life – turning yearning into narrative

The object of desire isn't just a tool to create engaging characters – it's also a powerful weapon to infuse your narrative with conflict, tension, and a satisfying resolution. By understanding your protagonist's internal and external desires, you can map out their character arc, design engaging conflicts, and weave a narrative that keeps your readers hooked until the end.

Moreover, internal and external objects of desire are intrinsically linked to internal and external content genres. The internal content genre – whether it's maturation, disillusionment, or redemption – typically defines the internal object of desire. Conversely, the external content genre – be it adventure, crime, or love story – often outlines the external object of desire.

Tying the knot

Defining your protagonist's object of desire – both internal and external – is an art that goes beyond character development. It's about crafting a narrative that resonates with your readers, that makes them root for your protagonist, and leaves them yearning for more.

So take the reins, delve deep into the heart of your protagonist, and bring their desires to life. After all, a character's desires aren't just part of the story – they are the story.

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