Every major
character in your story should have an agenda, a reason for what they do.
Technically, every character should have a reason for their actions, but it’s
not necessary to present a compelling reason for why the merchant at the corner
sells the hero an apple. Although - perhaps the merchant has lost his own son,
because the boy was on a quest and ran out of food, so he sold everything,
bought a magic cart, and is now always travelling to where a hero needs
something to eat. (Good idea for a story, actually.)
Motivation
for the hero and the villain (or the protagonist and the antagonist, if you
want to put it less extremely) is especially important, though. A story needs
tension and that tension usually is created, because both the protagonist and
the antagonist have an agenda and neither of them can complete it if the other
one does. Two examples:
In my post about
violence, I mentioned the hero who got beaten up by the men of his possible
girlfriend’s father, who happens to be a mob boss. In this case, the nameless
hero I mentioned is, of course, the protagonist, and the mob boss is the
antagonist. The hero wants to be with the woman he loves, that’s his agenda.
The mob boss, for reasons of his own, doesn’t want them to be together. Perhaps
the hero is a goody-two-shoes or a police officer or the mob boss wants his
daughter to marry one of his lieutenants, so that man can become his successor
one day. Obviously, both men can’t complete their agenda at the same time here.
In the
manga and anime series “Cat’s Eye,” the protagonists are three sisters who
steal pieces of art which once belonged to their father, because they believe
once they have the collection together again, they will be able to find their
father - or find out what happened to him, at any rate. (With heist stories as
a such, you should give a better reason than ‘to get rich quickly’ for the
crimes committed.) The antagonists are the police inspectors who are tasked
with finding cat burglar ‘Cat’s Eye.’ To complicate matters, the middle sister
(who usually does the breaking in) is in a love relationship with one of the
police inspectors on the trio’s trail. He wants to catch the thieves before
asking her to marry him - making it a clear lose-lose situation. If he catches
the trio, his love interest will go to jail. If he doesn’t catch the trio (as
the audience hopes, because the sisters are very nice people), they will never
get married. Of course, ‘staying free and finding their father’ and ‘catching
the thieves’ also are two opposite outcomes which can never occur at the same
time.
What kind
of motivation the protagonist and the antagonist have, is up to your story and
to the genre you’re working in. In a romance story, both might have the same
love interest and only one can win. In a mystery story, the protagonist wants
to solve the crime and the antagonist wants for it to remain unsolved. In a
superhero story, the hero wants for mankind to be free and the villain wants to
rule the world. (The truth is mankind craves submission, of course, since Loki
is always right.)
It’s in the
nature of the story that the hero will win in the end - although the victory
might be a pyrrhic one. The villain’s plans will be thwarted and everything
will be well - at least for a little time. Still, the motivation and agenda for
the antagonist need to be as well-rounded and understandable as those of the
protagonist. The audience doesn’t need to agree with the antagonist, but they need
to be able to understand why they do what they do.
Usually,
the antagonist wields more power throughout the story, too. In our examples
above, the mob boss has his organisation which is at his beck and call. The
police inspectors have the whole police force behind them, they can put a
hundred police officers on guard around a piece of art the trio wants to steal.
The protagonist is a protagonist, because they overcome the challenge which
comes with the unbalanced power. They come through despite how much power the
other side wields. In a romance story, the protagonist might be closer to the
love interest’s heart, but the antagonist might be the one chosen for the love
interest by their family. In a mystery story, the protagonist might be the
single P.I. who tries his best to see through the case while the antagonist has
money and influence to keep the police from looking at things or even have them
harass the protagonist. The supervillain in the comic has a whole organisation
and strong powers, whereas the hero has just received their powers, has no
allies, and has no experience with that kind of life. Think Death Star vs.
X-Wing fighter.
The
motivation doesn’t have to be visible from the beginning, though. Often, it
will be a good idea to keep it hidden from the audience for a bit - especially
the motivation and agenda of the antagonist. Perhaps your protagonist doesn’t
really know what they want at the beginning, perhaps they just want to live in
peace instead of going on a long, dangerous quest for little recompense. Part
of the hero’s journey is to understand why they need to be heroic. Perhaps the
antagonist will appear helpful and supportive at the beginning and the audience
and the protagonist only realize slowly that they are led astray that way.
There’s a lot of motivation
needed to write a story. Most of it is needed by the writer who has to spend
hours upon hours typing in the words, but the characters do need quite a bit of
it, too.