The protagonist sacrifices himself in order to let his friend live, and then the friend looks back at his life and sees the error of his ways and changes his life. He'll do this in honor of his friend, the protagonist, who, in the friend's eyes, lived a fulfilled life, while the friend lived a rather empty life.
Could this work? I don't remember reading that it was the protagonist who had to change by the end of the book... but then again, am I even identifying the right protagonist in my own story? It does seem like my protagonist would be the antagonist in the end, since he's the catalyst.
Thanks for any advice,
-ck
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Could this work? I don't remember reading that it was the protagonist who had to change by the end of the book... but then again, am I even identifying the right protagonist in my own story?
Yes, it could work, and it would be a character story, and yes, I think the 'friend' is the protagonist, not the other. After all, there is nothing in your synopsis to indicate that the person who sacrificed himself ever changed or grew as a person.
The C, or Character Story, is the relationship between two friends.
The E, or Event, is the sacrifice.
It seems to me that the Idea, or I, is that someone who lived an empty life can change after all. For instance, like Scrooge changed his life after all he went through.
The M, Milieu, is just where all of this is going to take place. Is it present day? Is it in the future or past? Another world altogether?
That's all the MICE quotient is really about. It's not completely set in stone. You could write a pure Milieu story which has almost no character development (you'll need a little, though), and just take the reader on a tour of the world you created.
Hope this is helpful.
Let me just reiterate....as much as this sounds like a deep character story, the *plot* sounds primarily like an event story. That is, there must be some significant series of events leading to this friend's sacrifice. In terms of MICE, you should probably start there, where the protagonist begins to get involved with the badness in the world. Then the end isn't when the world goes back to being right, it goes just past that to incorporate the significant and strong character coplot/subplot you mentioned...when the friend makes a change in his life.
Just my opiknion from what I gathered from your brief description.
-ck
A suspense story is an event story. They are usually classified with mystery so we don't think of them that way, but in a suspense story we know whodunit, we only want to know how they're going to get caught and if the protagonist will even live or succeed. The story is therefore an event. Person x (who we know) kill Person Y. This is a great evil that is wrong with the world. Our hero, the lawyer, policeman, or amateur detective, must right the world by bringing Person X to justice.
Earth shattering? No. Plenty of murderers escape all the time and the world still rotates on its axis ike always. But it's an event.
Card used epic fantasy as his example of an event story and that may have confused people. Don't forget those smaller events that only effect one or two people's lives.
How that sacrifice happens is up to you... but that is the Event as I would see it.
And by the way, who's Joe? ;o
-ck
I never said that!
I said that if he dies in the first to chapters he can't be the protagonist. There are not only two kinds of character: protagonist and antagonist. A protagonist is the person whose deeds the story follows, usually the person you want to succeed but not always. (There's nothing saying a protagonist can't be evil and you want him to fail but you still enjoy watching the story.) An antagonist is simply the person who opposes the protgaonist.
So....now you've totally lost me. The friend who dies, unless we're actually following the exploits of his enemy, is not the antagonist.
The antagonist opposes the protagonist. Usually this opposition is part of what helps the character grow and change, but it is rarely the only thing. I think that it's stretching things a lot to redefine "antagonist" based on something that sometimes results from the actions of the antagonist.
is it possible to have only one true antag, and that, not even humanoid?
what i really mean to ask, is that isn't it possible to have an everyone vs environment story?
Didn't OSC talk about that in one of his books? I don't remember...
There's certainly no requirement that all stories be interpersonal conflict. Although I'd have a hard time calling a blizzard, say, an "antagonist."
Man against machine.
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Although I'd have a hard time calling a blizzard, say, an "antagonist."
[This message has been edited by HSO (edited April 03, 2005).]
But that's just pedantic, ol' me :P.
it is humanly impossible to write a story that uses every possible avenue of story direction and describe every single element of a scene: environment, character thoughts, etc... so we must choose and balance things out.
also, it is humanly impossible to conduct that balancing act using the raw data... we must use symbols much the same as we do for a Calculus math problem.
it is my opinion that when used as a complex balance symbol, MICE is an excellent tool. when used strictly it makes for poor writing.
:P
If you look at a story in terms of story structure, and ask yourself what you are trying to do in the story, MICE helps you to figure out if you are starting and ending the story in a way that will tend to be most satisfactory for the reader.