Although authors use Subjective Characters all the time they unfortunately view the Subjective functions simply as other aspects of Overall Story Characters. In fact, the two functions are most often blended into a single concept of character that does double-duty. This is dangerous since every aspect of the argument must be made twice: Once Objectively and once Subjectively. If both roles are blended, this can appear redundant. As a result, important points in the separate arguments may be missing. In a temporal medium such as motion pictures, it is often the Subjective argument that suffers as the focus is on more objective action. In novels, the Overall Story is often flawed as the spatial nature of a book favors the Subjective view.

Just because a medium favors one view over the other does not mean you can neglect anything. All parts of both arguments must be present to create an effective synthesis in the mind of the audience regardless of the emphasis a medium may place on each view.

The Main Character is Not Necessarily the Protagonist

Many authors are not aware that a Protagonist does not have to be the Main Character. When we stop to think about it, many examples come to mind of stories in which we experience the story through the eyes of a character other than a Protagonist. Many Sherlock Holmes novels are told from the perspective of Dr. Watson who is sidekick to the protagonist, Sherlock Holmes. To Kill A Mockingbird is told from the perspective of the young girl, Scout, while the protagonist and defense attorney in the story's trial is her father, Atticus. Yet when it comes to writing our own stories, many of us never diverge from a Protagonist/Main Character combination.

There is nothing wrong with this combination. In fact, as long as you represent both characters in the single player, such a blend is a fine Archetypal Character. The point is: There are other ways.

Subjective Characters range from the Main Character with whom we identify to all the "other soldiers in the trenches" around us as we experience the battle together. They are friends and foes, mentors and acolytes. We see in them characteristics of Worry, Instinct, Experience and Doubt. Rather than functioning as approaches the way the Overall Story Characters do, the Subjective Characters function as attitudes.

"We're Both Alike, You and I..."

The Main and Impact Characters are counterparts. They represent the two principal sides to the argument of the story. Because they are dealing with the same issues, they are not too far apart. This often results in such familiar lines as "We're both alike," "We're just two sides of the same coin,"" I'm your shadow self," and so on. In contrast, though the same things concern them, they are coming at them from completely opposing views. This leads to common lines such as "We're nothing alike, you and I," or "We used to be friends until you stepped over the line."

Evil Twins?

Many authors picture the Impact Character as a negative or evil twin. Although this can be true, it has little to do with the Impact Character's dramatic function. For example, if a Main Character is evil and needs to change, their impact might be a virtuous steadfast character. Or both characters might be evil, with the resolve of one contrasting the change in the other. Anyway, the function of the Main and Impact Characters is to show two opposing sides of the same issue. That is their story function: To show what happens when one changes and the other remains steadfast on a particular issue.