I am working on my second book in the Egypt series, and I have to confess this book is causing me some bother, not so much with the plot, or the setting or even the characterization, but with the protagonist. There seems to be some kind of competition going on between my protagonist and her sister, who is also a main character in the book.

Just to give you an idea of my dilemma, here is the plot in a nutshell. My protag Marva is a twenty-one year young woman who suffers major guilt feelings over having killed her father years ago on account of incest. She was never brought to trial, although the detective on the case suspected she was guilty. And she knew he suspected her. This happened in Book 1. In Book 2 she desperately wants to get the burden off her conscience by confessing to someone, but has no one to confess to.  June is now 17, and Marva feels she is no longer needed in her sister’s life. Marva thinks her only solution lies in killing herself – something she attempted in Book 1.

Now this is where the competition arises. As the protag slips deeper into depression, June seems to take over, warning Marva not to confess to anyone as this would disrupt the comfortable new life they have made for themselves. June is beautiful, bright, vivacious and always part of a group. She would be an ideal YA protag. Marva, though attractive, is a loner, introverted and uncomfortable around others because of her guilt feelings.

I chose Marva to be the protagonist because, to my mind, the story centers around her.  She has the most at stake. According to Characters, Emotion & Viewpoint by Nancy Kress, Marva seems to fit the profile of a villain protagonist, even though she is not a villain in this book. According to Nancy, the villain should  be:

• tenacious
• a loner
• resourceful
• not loquacious and
• idealistic – this, Ms. Kress says is the most important. Whatever she does, lie, steal or even kill, must be done in the service of her country, her family (as in Marva’s case) or for the sake of right.

Some time ago I featured a blog post by Yvonne Anderson, my friend and critique partner, on the subject of protagonists. Yvonne is the author of the Gannah series. You can read her post here: http://angelasfreelancewriting.com/y-is-for-ys-words/, and after you have read it leave a comment and let me know who you think deserves the star role – June or Marva.

Related articles

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  More on Female Protagonists
• Why Do Protagonists Have to Be Male?
• This Thing I Realized About My WIP
• What makes a protagonist?

This week as promised, I’m bringing you the first blog post about my book Coming Out of Egypt. My protagonist, Cicely, is an attractive Christian young woman who has a lot of skeletons in her closet, which she has managed to keep hidden. Cicely thinks her life is well ordered, but when she meets the handsome detective, David, she instinctively knows that the carefully-woven threads of her life are about to become undone. Which they do, despite Cicely’s best efforts to keep them intact.

In the story, I make use of the extended metaphor, meaning that the metaphor appears throughout the story. In fact, the title Coming Out of Egypt is itself a metaphor for the tortuous journey of the major characters out of their separate places of bondage. However, Egypt is more than that. It is an actual place in the story where Cicely first meets one of her pupils whose life is similar to what Cicely once experienced. And even though Cicely literally leaves Egypt, her path and the girl’s converge once more in a startling and unexpected way that disrupts the harmony of Cicely’s life. She is still stuck in Egypt.

But why use metaphors? I believe metaphors are an excellent way to:

1. Enrich the language by providing imagery which may not be as vivid without them . For example, in my book I refer to Cicely’s Egypt closet, which is not a real closet, but a storehouse of memories relating to her troubled past. The title Coming Out of Egypt is based on the story of the Exodus of the children of Israel out of their bondage in Egypt. It is a story I have loved ever since I was a child, and being a Christian, I’m still blown away by the way God delivered His people from the heavy hand of Pharaoh, the emperor of Egypt. This is the main theme that runs throughout the book.
2. Leave room for interpretation. Readers can explore which of the characters made a transition out of Egypt, i.e. which character(s) showed the most improvement by the end of the story, and which ones did not make it.
3. Express thoughts, feelings, experiences etc. When Cicely finally lets go of her inhibitions and allows herself to fall in love with David, she sees God parting the Red Sea so she can walk to freedom. Later, when her fears become a reality, she thinks that Pharaoh and his armies have won.
4. Prepare the reader for what is to come. In some parts of the story, I use metaphors as a foreshadowing. When Cicely suspects that David may find out about her past, she hears the pounding of Pharaoh’s armies drawing closer.

Metaphors, when correctly used, can add depth and meaning to your story, but according to the experts, writers should be careful not to use metaphors too extensively so that your work sounds like a huge cliché. Neither should you use metaphors employed by other writers, but use your own imagination to create metaphors that will flow seamlessly throughout your work. If you have used metaphors, or have an interest in them, please leave a comment and tell us about it.

Well, we are down to the second-to-last letter. I never thought I would be able to get this far. It just shows what a little challenge plus determination can accomplish. I can’t wait to see what my fellow bloggers have come up with for the letter Y. For this post I decided to feature the blog of my friend and critique partner, Yvonne Anderson. Yvonne’s blog is called Ys Words, and as you will see from the entry below, she does give some Ys words on writing in particular and on life in general. Yvonne is the author of Story In The Stars, the first in a series of speculative fiction about life on the planet Gannah. In this entry, Yvonne’s main characters, Dassa – protagonist – and Pik, Dassa’s husband argue about who should be the protagonist. Let’s listen in:

Author: All right, then, ladies first. Dassa, why do you believe the term protagonist applies to you?

Dassa: Since the book opens with a scene in my point of view, it stands to reason that my character is the one upon whom the whole book hinges. Isn’t that some sort of a writing rule? That the protagonist is introduced first?

Author: I don’t know if it’s a rule, but—

Pik: There is no such rule. I’ve checked with a number of industry professionals, and they tell me—

Dassa: Industry professionals? Name one. Probably a guy who drives a forklift in the Book Bargains warehouse. No—more likely, some agent’s dermatologist.

Pik: Not true! I—

Author: We needn’t name names and draw innocents into this. But I’ve raised this question at conferences and such, and from what I’ve been told, there is no hard-and-fast rule. Generally speaking, the reader meets the protagonist first, but there are legitimate exceptions. So I’ll give a point to Dassa for this while conceding that her argument isn’t definitive. And now, let’s move on. Dr. Pik, why do you think you’re really the protagonist?

Pik: First, and most obviously, readers love me best. You said yourself, when you were submitting your chapters to critiquers for feedback, everyone commented on how much they loved my character. And if you hadn’t submitted anything for a while, it was me they asked about. “What’s Pik doing these days?” No one inquired about Dassa.

Author: Well, that’s true, but—

Pik: But more objectively, I think everyone here will agree that my character is the one that shows the most growth. Don’t several reviewers comment on the impressive character development in this book? Which character are they’re talking about? Certainly not Dassa, who remains a cold fish throughout the entire story. My character gives the story its depth and adds a lively humor. It’s my words in the last line that put a smile on the reader’s face as she closes the book with satisfaction. Dassa is merely the straight man, so to speak, around which my character revolves.

Author: “Cold fish” hardly describes Dassa. It’s true that she never gets carried away by her emotions, but she does clearly feel them. And her role is far more vital than that of a mere straight man. Nevertheless, you raise a good point about the character development. Your character shows amazing growth between his introduction in chapter 2 and that last line of the book that you mention.

So what do you have to say about this, Dassa? Pik seems to have scored two points to your one so far. Can you offer another reason why you should keep your protagonist status?

Dassa: Absolutely. It’s true that the doctor shows the most character growth, but plainly, the reason for that is because he had more growing to do. I may be younger than he, but I was more mature at the beginning of the book than he is by the end. No, don’t argue, Pik, it’s true and you know it. However, all that aside, I believe the biggest reason why I should remain the protag is because it’s my character who has the most to gain or lose. You had a life—a career, a family, and a future—before I came on the scene, and if I had never made an appearance, you’d have gone along your merry way without a care in the galaxy. I, on the other hand, lost everything. The story is more about my struggle than it is about your character growth. Clearly, that gives me every right and reason to be the protagonist.

Author: This is quite the dilemma. All your arguments are valid. I think we should put it to the vote. Readers? Who do you consider the protagonist of The Story in the Stars? I’m asking that question on my own blog today, too, so if you don’t mind, would you go to YsWords.com and cast your vote?

Intriguing, isn’t she? To learn more about Yvonne and her writing, you may visit her blog at www.YsWords.com.