[It should be noted that most of this is derived from work done by Michael Hauge's Screenwriting for Hollywood]. The character types and goals are his, the patterns are something I derived. The patterns are flexible and shouldn’t be considered an exhaustive resource.
The following are the most common external goals:
EG.A) Hero’s goal is to win a competition.
EG.B) Hero’s goal is to win a love.
EG.C) Hero’s goal is stop a disaster.
EG.D) Hero’s goal is to retrieve an item.
EG.E) Hero’s goal is to escape a place.
EG.F) Hero’s goal is to escape a person.
The following are the most common internal goal endpoints:
IG.A) Hero stands up for her authentic self.
IG.B) Hero risks connection with another person.
IG.C) Hero stands up for a principle.
The following are the primary characters
Hero
Antagonist
Lover
Support
EG.A) In the story where the hero’s goal is to win a competition, the antagonist is often the hero’s competition. The lover often has a relation with both the hero and the antagonist, but is in support of the hero. The support character is often a mentor who is a veteran of the competition.
EG.B) In the story where the hero’s goal is to win the love of a person, the antagonist is often a rival for that love and is typically better suited to be the object of affection’s counterpart. The lover is promised to the antagonist in some way, but desire’s the hero’s true essence. The support is typically a friend or equal who encourages the hero to pursue the love interest.
EG.C) In the story where the hero’s goal is to stop a disaster, the antagonist is often behind the disaster or wants it to occur for her own goals. The lover’s interests’ are deeply rooted in the outcome of the disaster and she faces the greatest jeopardy. The support character could easily be a secondary hero in this structure or a mentor.
EG.D) In the story where the hero’s goal is to retrieve an item, the antagonist has the item or also wants to retrieve the item. The lover is deeply connected to the item. The support character often knows the ways to retrieve the item.
EG.E) In the story where the hero’s goal is to escape a place, the antagonist is the captor. The lover is the destination and person most longed for by the hero. The support character often knows means of escape.
EG.F) In the story where the hero’s goal is to escape a person, the antagonist is the captor. The love interest is the healer and often plays the duel role of support. The support is often a reflection to the hero, showing how life away from the captor should be.
IG.A) In the story where the ending theme is ‘standing up for your authentic self’, the hero typically feels inadequate for some reason. The antagonist typically sees this inadequacy and flaunts it. The lover loves the authentic self of the hero. The support pushes for the hero to be her authentic self.
IG.B) In the story where the ending theme is ‘Hero risks connection with another person’, the hero has often suffered some great loss. The antagonist will threaten greater loss and remind the character of his past. The lover will work to uncover the wound and heal the hero. The support represents the good that comes from connecting.
IG.C) In the story where the ending theme is ‘Hero stands up for principle’, the hero often has a strong belief they are unwilling to compromise. The antagonist tries to break that principle down. The lover tests that principle and likely discovers a change in herself. The support could likely be a betrayer and show the failed principle.
