Skip to content

The role of the protagonist

Max Adams
Image credit: Kona Macphee / RLF

In the last year I have co-facilitated two writing immersives: a five-day retreat in the Derbyshire countryside for post-doctoral science academics and a series of one-to-one tutorials sandwiched between whole-day workshops for PhD students from all disciplines at Teesside University. As a writer of fiction and non-fiction, I know that narrative structure is key to pulling off a big piece of work — 80,000 words or so. I see theses, novels and commercial non-fiction in much the same way, despite their very evident differences in terms of audience, tone and style.

One of the most successful tools for doctoral students or, indeed, post-doctoral academics, is to envisage the role and nature of the protagonist: that is to say, the character (or discipline; or theory; or interpretive paradigm) that undergoes the most profound change during the course of the work. For humanities students this often provides them with a key insight and answers that tricky question, ‘what is this about?’ On the other hand, scientists are often sceptical — at least to begin with — about the idea that a mathematical conundrum can be turned into a protagonist or that solving a problem of measuring the performance of micro-fluids can be encompassed as a narrative with a protagonist’s journey. So, we often start talking about the movies: how screenplays work to set up a challenge, map how the protagonist overcomes those challenges and emerges wiser — and changed — at the end. I managed to convince an ultra-reductionist mathematician that the Pythagorean five-bridges problem could have a protagonist. If nothing else, it forces the writer to consider if there is a potential protagonist on whom to drape the flesh of their narrative. As for my own writing, being challenged by highly intelligent academics forces me to interrogate my own approach to story: to engineer it to the highest standards. Even in fiction — perhaps especially in fiction — the rigour of the academic approach, always questioning, always scrutinising, always testing, keeps me on the straight and narrow.

28 September 2016

Related articles

Weave a narrative thread—in 3 easy steps

We cannot resist the lure of a good story. A desire to see a narrative also permeates many areas of academia.

Working with your word limit

Cherise Saywell When coaching students nervous about the blank page, I’ve often used the word limit as a technique for getting started. A big project, such as a PhD thesis, is less intimidating once you break it down. For example, at the start of a literature review chapter of 20,000 words in a social science…

Pictures make words

Max Adams During workshops with undergraduate, graduate or doctoral students, I use images – anything from films to works of art – to help them to develop their sense of story and visualise its shape. In great art, as in good writing, there is always tension. Take a look at Joseph Wright of Derby’s marvellous…

Back To Top