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When he fails to catch an old enemy, an intolerant US Marshal must grant a ferocious gunslinger amnesty in exchange for his help to apprehend the outlaw.
I'm not your target audience--I don't much care for Westerns--but this caught my attention. I see where you're going with the "old enemy" bit but am wondering if there's a better way to word it. Is the "old enemy" an escaped convict? A former con who was released, but whom the MC doesn't trust? JustRead more
I’m not your target audience–I don’t much care for Westerns–but this caught my attention.
I see where you’re going with the “old enemy” bit but am wondering if there’s a better way to word it.
Is the “old enemy” an escaped convict? A former con who was released, but whom the MC doesn’t trust? Just some jerk he doesn’t like?
A US Marshal, these days, may not have the authority to grant amnesty, like Zentaneous said, BUT…did they have district attorneys in the old west? Even if they did, did they stick with such formalities when time was of the essence?
Part of what caught my attention was his alignment with a villain in order to catch another villain. Does he break him out of of jail, putting himself on the wrong side of the law? Does he convince his comrades that permitting this alliance is the right thing to do, or is he on his own?
Either way, unless someone can suggest a more appropriate word that puts across the same concept, I’m fine with the usage.
That said…I feel like there might be another way to say all this that still adds a sense of urgency that each alternate version lacks.
See lessNevertheless, it has my attention. Good job.
English teacher John Keating inspires his students to look at poetry with a different perspective of authentic knowledge and feeling.
This discussion has been fascinating to follow. Having read THE HERO'S JOURNEY (a couple times...long ago), I'm familiar enough to follow along with and comprehend your terminology, while continuing to learn from it. I'm not sold on Nir Shelter's defined distinction between the following: ProtagonisRead more
This discussion has been fascinating to follow.
Having read THE HERO’S JOURNEY (a couple times…long ago), I’m familiar enough to follow along with and comprehend your terminology, while continuing to learn from it.
I’m not sold on Nir Shelter’s defined distinction between the following:
Protagonist – a character that uses action, more than others, to progress the A plot.
Hero – the character that experiences the most amount of change over the course of the story, or the one with the [greatest?] lesson.
I see that there should be a distinction, but that perhaps there should be another description altogether for “Hero,” while “Protagonist” assimilates the given definition of the other.
See lessWhat that new definition for “Hero” should, then, be might already be defined by Vogler. If I knew where my copy was, I’d gladly research it myself.
Stranded in enemy space, when a tyrannical federation’s mothership seizes his father’s company car, a fickle teen must retrieve it and return home on Earth before his father starts his new job.
Looks like all of the bases are covered, but it raises the question...Is the company car for his dad's new job? Or his previous job, and it needs to be returned before he can move on to the new job?
Looks like all of the bases are covered, but it raises the question…Is the company car for his dad’s new job? Or his previous job, and it needs to be returned before he can move on to the new job?
See less