Identifying Your Protagonist Ancestor



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The protagonist is the central character in a story.  I’m going to assume you’ve watched enough movies and read enough books,  that you understand every story has a protagonist. However, did you realize even your family history story should have a protagonist.

Your reader needs a focal character. Someone through whose eyes the story is revealed. Your reader needs someone to either approve or disapprove of and without a main ancestor as your reader’s emotional guide they will have no feeling for the story either way. Your family will begin to connect to your story when they identify with an ancestor, a protagonist in the story.

Here’s a few things you should look for when determining your protagonist ancestor.

Action

Your primary ancestor’s life needs to demonstrate action in his or her life. You need to be able to see that they acted upon the world and not merely reacted to the world. The events in their life are the action they will bring to the story. By action, I don’t mean an ancestor who was hyper and ran around in circles. Action is choice. You want the protagonist in your family history story to be an ancestor who made decisions in their life. The bigger the choice, the more significant the story, and the larger the story, the more compelling the read. Tell your family history story from the perspective of the ancestor that made the biggest choice.

Conflict/Fear  

Look for the conflict in your ancestor’s life. That could be an outer conflict or an inner conflict or perhaps both. If that fear or conflict is something that your readers will identify with then, you probably have chosen a good protagonist.

Plot

Your principal ancestor must be crucial to the story’s plot. If you can write a story without them or a mere mention of them than they are not your protagonist ancestor. Their actions and choices should move the family history forward.

 Relatable

Your readers should empathize with your ancestor. They should be real people, with real dreams and real problems.  You want your main character at the very least to be somewhat likable.  They should want to know them, maybe even become their heroes.

Flaws

A good protagonist should have a few flaws. Don’t shy away from choosing an ancestor with visible defects. It is in these blemishes that your reader relates to their ancestor.

Change

Storytelling is change. In your story, change occurs either because the protagonist changes, the world changes or the protagonist changes the world. But something must change. In your research, it’s important to identify the change both outer and inner change that your protagonist goes through.

If you would like to know more about identifying a protagonist in your family history story, we discuss this in great detail in Authentic Ancestors, Bringing Your Ancestor to Life through Characterization.

 

Related Post

3 Things You MUST Know About Your Ancestor Before You Write3 Things You MUST Know About Your Ancestor Before You Write

When we fall in love with an ancestor on the page,  we don’t fall in love with the fact that he is a 56-year-old farmer from Ireland with brown hair, a stalky build and always wears a hat. We don’t fall in love with the physical characteristics that we continuously get so caught up in knowing and inserting into our writing. (By the way, most readers will forget these facts.) What we tend to fall in love with is our ancestor’s motivations, their flaws, their vulnerabilities, their strengths. We don’t fall in love with their physical qualities, but with what’s at the core of them internally, what makes them real.

And yet, when we write about our ancestors to tend to only focus on their physical being. We also question if we don’t have a picture of them how can we possibly bring them to life on the page.

In the novella I am writing about my third great-grandfather I don’t know his physical description. I don’t have a picture of him. I don’t know the colour of his hair. It really is quite insignificant. It doesn’t progress the story forward. It doesn’t contribute to the plot, and it doesn’t allow my reader to see my ancestor more deeply.

Only a few physical details are available to me. But I’m not worried.

I do know his goals, his desires, his motivations. I know his fears, his vulnerabilities. I know his life story.  I know his actions and reactions to events in his life. And from his actions, the people he associates with and his past I can bring him to life for my reader.

So how do you make your ancestor real on the page? There are many questionnaires available to help you to get to know your ancestor better. But you’ve got to use one that doesn’t just address their physical attributes, but that gets to the heart of their internal selves. (Warning shameless plug – We’ve got a great one in workbook #2 Authentic Ancestors with lots of info on bringing your ancestor to life on the page)

To know your ancestor completely, you’ve got to know the emotional truths in their being, the relationships, and the history that influenced them, and the way they chose to act in the world and as a result how they were perceived.

Let’s address these 3 big things so you can get to know your ancestor before writing.

1. WHAT DID YOUR ANCESTOR WANT AND WHY DID THEY WANT IT? 

Figure out your ancestor’s primary goal. What is the one most urgent desire they have more than anything in the world? (Hint: This is probably the entire reason you’re writing this story. And it should be highly tied to your plot.

After identifying the goal, we have to dig deeper and discover the why behind it. For your ancestor to ring true, he can’t just want something arbitrary. It must have a higher meaning. Why do they want this thing so much?

Keep in mind, sometimes, what your character thinks they want and what they actually want are two different things entirely. Perhaps they believe they wish to conquer the world, but really they just want to make their father proud. Maybe they think they want to fall in love with someone, but what they need is to love themselves.

 

  1. WHAT HAPPENED IN YOUR ANCESTOR’S PAST THAT INFLUENCED HOW THEY BEHAVED?

Your ancestor’s actions did not happen in a void.  Things have happened in your ancestor’s past, and those things influenced their actions and choices.

If your ancestor watched her parents work as a peasant farmer never getting ahead, she might have a strong desire to own land or maybe get an education. If your ancestor lost a parent at a young age, he might feel strongly about becoming a doctor and healing the sick.  If your ancestor came from a long line of military men he may feel loyalty to do the same. Or perhaps he had a want to rebel against serving in a war. Their actions and choices show these thoughts. Their past experiences influenced their decisions.

Map out a historical timeline of your ancestor’s life. Record all the significant milestones, births, marriages, deaths, careers, military, etc. Identify the 5 most significant, most life-changing and influencing moments they’ve ever had.

Try to sum up your ancestor’s life with those 5 moments. What would those moments be? Why?

CONSIDER How RELATIONSHIPS Affected Your Ancestors

“Birds of a feather flock together.”

Like-minded people tend to hang together. But, it also works in the opposite direction. People who hang together become like-minded. It’s said that your thoughts and behaviors are a compilation of the 5 people you are most intimate with. Those you surround yourself with day-to-day influence you more than you realize. Sometimes that’s a good thing, sometimes not.

Who are the 5 people who your ancestor hangs out with? Friends? Family members? Coworkers? Spouse? Consider how these relationships shaped your ancestor’s perspective on the world. Their behavior? What does your ancestor’s relationship with their mother, wife, children look like? Who does your ancestor trust the most? Who would your ancestor call if they had a problem and needed advice? What does your ancestor’s relationship with their significant-other look like? Are these relationships positive or negative?

Of course, we’ve all experienced relationships that weren’t positive. We’ve all ran into someone we didn’t get along with for some reason. Your ancestor did too. Consider who that may have been. What happened to cause this bond to turn negative. How did this relationship shape them?

3. HOW DID YOUR ANCESTOR BEHAVE AND ACT IN THE WORLD?

Behavior may be aligned with your ancestor’s beliefs, or it may seem to be wholly misaligned with your ancestor’s beliefs. But this is the perception that your ancestor gives off to the world. This is how other people perceive your ancestor because they don’t have access to their innermost thoughts.

Was your ancestor outgoing? Did they talk a lot because they’re internally nervous? Maybe your ancestor always acted out of spontaneity, or carefully planned every move ahead of time. Perhaps your ancestor planned their words before they said them. Was your ancestor action-heavy and continually going places and doing things. Or was your ancestor shy and locked inside their own head?  Did they speak quickly or slowly? Perhaps they felt the need to be proper and ladylike all the time. Maybe they felt the need to show dominance. Maybe they worried so much about what other people thought, or they didn’t care at all and did their own thing against social norms.

How did your ancestor behave in public? How did they present themselves? How did they act? What is the vibe they gave off to the world? How does the world view them?

Here’s An Exercise For You

Now here’s an exercise to help you flesh out your most authentic ancestor. Imagine you met your ancestor at a party and you asked them the classic question, “Tell me about yourself.”

What would they say? What aspects of their life would they choose to highlight? What successes would they bring up? What interests might they want to talk about? What basic facts do they feel they need to share with you? What positive things do they think they need to convey for this person (who doesn’t know them) to perceive them accurately?

 

 

Putting Words in their MouthsPutting Words in their Mouths

We now know that dialogue is an important element to good scene writing.

However, it doesn’t remove our apprehension about using it in our family history stories. It becomes a scary proposition for family historians and often stops many from writing scenes because they don’t want to put words in their ancestor’s mouths.  Instead, they settle for dry narrative summary rather than writing an engaging story built on scene and summary.

Dialogue for family historians falls into two camps, which I will refer to  as recalled conversations and re-created conversations. First let me start by saying, how you handle dialogue in your family history is a personal decision. Some nonfiction writers believe in no fabrication, while others believe you can put words in your character’s mouth within guidelines. There seems to be a broad range of interpretations on the subject.

 

Recalled Conversations

My definition of a recalled conversation is when the person or persons were present for the discussion but do not recall the exact words that were exchanged.  This could be you writing a memoir or interviewing a relative recalling a conversation. Here’s a few guidelines for recalled conversations.

  1. You are not expected to remember verbatim what was said, but instead convey the essence of the discussion. If your grandmother is recalling a conversation to you, it is not expected that she would remember the exact words that transpired. However,  through your interview she would remember the conversation to the best of her knowledge, capturing the tone and essence of the exchange.
  2. If you are privy to a conversation, don’t transcribe the conversations word for word. Separate out the important parts. What part is memorable and reveals character and is relevant to the story?
  3. Conversations do not need to be complete sentences, nor does it need to contain every verbal tic a person might say. You know all those ands, umms and buts, we insert into our vocabulary. The reader does not need to read these.
  4. Also don’t forget to include setting and body language, which help add to the characterizations behind the words.

Re-Created Conversations

My definition of a re-created dialogue applies to those discussions that took place well in the past, and no one who was present is alive to interview. You  may wish to re-create this conversation but here are a few guidelines I follow.

1. Turn to your research to re-create dialogue. I believe you can re-create dialogue that is based on your research and can be summarized and hypothesized base on your ancestor’s actions.  I’ve covered the possible resources for re-creating dialogue in a previous  post, Re-Creating Dialogue and in Authentic Ancestors.

2. Remain faithful to the essence of what the character would have said and the nature of the conversation.

3. Be honest with the readers, acknowledge when you are re-creating dialogue and when you are recalling.

I’ll also include a link here for those of you who are just learning to write dialogue, 7 Tips to Formatting Dialogue.

I’ve grabbed a couple of books from by bookshelf to offer examples of how other authors have handled the situation.

For example in the memoir , The StovePipe by Bonnie Virag, in her author’s notes she addresses the topic:

I set forth each incident as I remember it, occasionally relying on my sisters to fill in some of the gaps – bearing in mind that each of us saw through a different set of eyes and may have perceived things differently. Some of the dialogue I remember clearly and recount verbatim. Where memory fails me, I created dialogue based on the way my sisters expressed themselves. The rest is as accurate as I can make it. It is the story of my life, and I have tried to be true to my thoughts and memories.

Another example,

Jeannette Walls, Author of Half-Broke Horses

In telling my grandmother’s story, I never aspired to that sort of historical accuracy. I saw the book more in the vein of oral history, a retelling of stories handed down by my family through the years, and undertaken with the storyteller’s traditional liberties. ….she goes on to say

I don’t have the words from Lily herself, and since I have also drawn on my imagination to fill in details that are hazy or missing- and I ‘ve changed a few names to protect people’s privacy – the only honest thing to do is call the book a novel.

Regardless of whether you are recalling dialogue or recreating dialogue the important thing to remember is to  be honest with the reader.

Lee Gutkind, creative nonfiction teacher and author of You Can’t Make This Stuff Up, expresses his thoughts and I’ll end with his words

“The idea is to replicate the conversation vividly and to mirror memory and speculation with trust and good judgement.”