Hateful Heroes and Heroines

I thought it might be fun to bring the rest of you in on my discussion with Pat regarding unsympathetic protagonists. (See comments to this post.) It's not tough making your protag likable and sympathetic. Long ago, I read some advice on this: when you introduce your protag, either (A) have him tell a joke, or (B) put him in an embarrassing or humiliating situation. The joke. It had damn well better be funny, and not annoying-funny, either. You want your reader to like your protag, okay? Also, by 'tell a joke', I don't mean, "So a rabbi, a priest, and a bowl of guacamole walk into a bar." 'A joke' in this context means anything that will make the reader smile. Chandler's introduction of Phillip Marlowe in the beginning of The Big Sleep is a good example. In first person POV, Marlowe describes what he's wearing, and if you have any imagination you'll be grinning by the end of that description. Also, think about how rapidly Mark Twain establishes rapport between the reader and Huck in the beginning of Huck Finn. Embarrassment. Preferably, this should be a situation a reader can easily relate to. The first example which comes to my mind: from the Analog issue I recently reviewed, Richard Lovett's "Zero Tolerance". Lovett opens the story by having his middle-aged protag dressed in a Harry Potter outfit for a Halloween costume party. He's turned away at the door because he doesn't have ID and can't prove his age (even though he's old enough to pass for Dumbledore -- and that's Lovett's joke, not mine. He's using both techniques to build empathy). Now he has to roam the city in a silly Harry Potter outfit. I'll add more examples of this in the Comments, when I remember 'em. I'd also add (C) put your protag in a situation which highlights one or more of her better traits. Here's how Lizzy is introduced in Pride and Prejudice. Lizzy's mom is talking to Lizzy's dad : "... Lizzy is not a bit better than the others; and I am sure she is not half so handsome as Jane, nor half so good humoured as Lydia. But you are always giving her the preference."

"They have none of them much to recommend them,'' replied he; "they are all silly and ignorant like other girls; but Lizzy has something more of quickness than her sisters."

Sure, this is thinly veiled 'telling', but it succeeds nonetheless in building sympathy for all the Bennett sisters (What do you mean, 'none of them much to recommend them' -- what kind of father is that?) and Lizzy in particular. We're also told that Lizzy is 'quick'. Soon enough, we see that quick wit in action.

To cross genres (big time), think about the 'Deliverator' opening in Snowcrash. (Amazon has their 'look inside' function enabled, in case you're interested.) Stephenson introduces Hiro Protagonist as a determined man of action with a sense of humor to burn. Hiro's focus on delivering his pizza before the deadline tells us all we need to know.

That said, I confess I never felt too much empathy or sympathy for Hiro. His smugness put me off. The female lead, YT, had a lot more going for her in the empathy department.

One last point. (D) You can get a lot of mileage if your character appears full of mystery. Here, I'm thinking about the opening to Conrad's Heart of Darkness. Here's how Conrad introduces Marlow:

Marlow sat cross-legged right aft, leaning against the mizzenmast. He had sunken cheeks, a yellow complexion, a straight back, an ascetic aspect, and, with his arms dropped, the palms of hands outwards, resembled an idol.

What's the first thing out of his mouth?

“And this also,” said Marlow suddenly, “has been one of the dark places of the earth.”

They're on the Thames, for cryin' out loud. The last thing the stodgy Brits on the boat with Marlow want to hear is a comparison of London to the Congo -- yet that's the whole point. What the hell is Marlow thinking? What's on his mind? Out with it, already!

Okay, I've blathered on too long. (I haven't even gotten to Janet Evanovich's introduction of Stephanie Plum in One for the Money.) Now it's your turn.

D.