\n<\/p>\n
What\u2019s the point of it all? Ever wonder that about a character in a script you\u2019re reading? Why are they doing what they do, enduring tests and hardships and heartbreak with the odds stacked against them? Usually\u2014if the story is good and compelling\u2014it\u2019s to achieve their character\u2019s super objective.<\/p>\n
A super objective represents the primary want for a character throughout the course of the story. All of their actions, words and decisions across every scene should lead towards this central, driving goal, which when achieved ensures that the character is the best, most evolved version of themselves.<\/strong><\/p>\n As an actor, determining your character\u2019s super objective is\u00a0everything<\/em>. Without a primary want driving them through a narrative, they\u2019ll drift along from scene to scene without momentum. They\u2019ll lack those vital, human qualities of want and longing. So read on, and find the spark to set your character on a compelling path towards destiny\u2026<\/p>\n Ask yourself a simple question: what does your character want more than anything? You need to look for the thing that motivates them, drives them, gets them up in the morning. Usually it\u2019s for their personal betterment\u2014or for the betterment of their world if they\u2019re the heroic type.<\/p>\n Confusingly, the super objective is often obscured by a simpler, plot-related goal or object of desire. We sometimes refer to this concept as a MacGuffin<\/a>: a plot device used by a writer to motivate a character towards their larger, cosmic desire.<\/p>\n The One Ring in\u00a0The Lord of the Rings\u00a0<\/em>is a great example, as is\u00a0The Heart of the Ocean in\u00a0Titanic<\/em> or anything Indiana Jones chases after. A character might fight a dragon to save the kingdom. However, their super objective isn\u2019t killing the dragon: it\u2019s the enduring safety of their homeland.<\/p>\n So, back to that initial question: what does your character more than anything? If the answer is \u201ctreasure\u201d, or \u201ca crown\u201d or \u201ca glove full of infinity stones\u201d, there\u2019s likely something more\u2014some deeper goal\u2014that you can identify. Look for what makes them the best, most evolved version of themselves.<\/p>\n Many actors confuse the concepts of objective<\/strong><\/a> and super objective<\/strong> when they do script analysis<\/a> or scene work. Usually, it\u2019s a case where an actor identifies the super objective, missing the point of the scene in question entirely.<\/p>\n Here\u2019s a hypothetical:<\/p>\n Aspiring comedian Sandra is trying to borrow her flatmate\u2019s car keys so she can get to the comedy club and audition for the best talent agent in town. She\u2019s been preparing and perfecting her stand-up set for nearly half the movie, and it\u2019s now or never for her to seek fame and fortune.<\/strong><\/p>\n What\u2019s her objective? A lot of actors would say \u201cto be a professional comedian\u201d. This is not true, as it a) does not involve her scene partner and b) can\u2019t be achieved within the confines of the scene. \u201cTo be a professional comedian\u201d is a super objective. Her\u00a0objective\u00a0<\/em>is to borrow her flatmate\u2019s car keys.<\/strong><\/p>\n When you navigate your way through a script, pay attention to the objectives scene to scene. They should (provided your character is successful in their pursuit) outline a step-by-step process for your character to attain their super objective.<\/p>\n Miss a step? You risk a trip or a fall\u2026<\/p>\n Well for starters they\u2019re spelled different! But seriously, folks: an arc represents the character\u2019s journey through a narrative. The term is sometimes used to refer in short-hand to the super objective, but it is very much the journey, not the destination. This is because the arc of a character not only tracks what they do and where they go, but\u00a0how they change and grow.\u00a0<\/em><\/p>\n And that\u2019s to say nothing of a character who might change their super-objective: shooting their arc off into wild and unexpected directions! But more on that later\u2026<\/p>\n If you were to plot your character\u2019s arc, you\u2019d have an easier time of understanding how they develop throughout a narrative. It\u2019s also a useful tool in film productions where you might be shooting a story out of order. Knowing where your character sits in their current journey can help you to keep your performance consistent.<\/p>\n The best way to pursue your super objective is one scene\/one moment\/+one line<\/em> at a time. Focus on your character\u2019s immediate objective first\u2014because that will ultimately allow them to progress in the story. But keep your finger on the pulse of\u00a0why<\/em> that objective serves their larger goals.<\/p>\n It\u2019s why concepts like the moment before<\/a> and asking \u201cWhat\u2019s my motivation?\u201d are so helpful in preparing a scene. Because they contextualise a character\u2019s actions within a scene; they make it fit within their larger arc and show how they\u2019ve worked before this moment (and will work long after it) to achieve their super objective. Suddenly, every moment, no matter how small, can raise the tension and stakes<\/a>. Because it all builds to something.<\/p>\n And don\u2019t forget that the super objective of a character may trump their immediate desire for a particular action or outcome in a scene. In Hamlet<\/em><\/a>, the titular prince refrains from murdering his treacherous uncle while the man is praying to God for forgiveness. And it has infuriated audiences for literal centuries: the bad guy\u2019s right there! What the hell is he waiting for?! But Hamlet shows mercy in that moment because his super objective is justice\u2014not petty revenge. And so a quick stabbing in a vestibule, even of the main villain, won\u2019t solve a thing.<\/p>\n A character\u2019s super objective can absolutely change! In fact, it makes for some of the best dramatic arcs in storytelling. Shift\u2019s to a person\u2019s entire reason are usually messy (in the best possible way), and for that reason are very hard to miss.<\/p>\n Take Shrek, for example: his super objective is to clear his swamp and return to a life of solitude. However, he finds himself changing throughout the course of the story. His initial goal, once he achieves it, feels hollow compared to his new want of rescuing Princess Fiona from John Lithgow.<\/p>\n Like an objective in an individual scene, you must have a damn good reason to shift a super objective. Usually, it\u2019s either because a character has reached the goal and wants more, or an external force has rendered the original super objective impossible to complete. Juliet\u2019s super objective is to be with Romeo<\/a> \u2026 right up until she watches him die. Then her goal changes rapidly and morbidly.<\/p>\n So there you have it! If you\u2019ve experienced any confusion on the concept of the super objective, we hope this quick guide will give you some clarity.<\/p>\n Don\u2019t forget: whether your character wants to borrow $5 or overthrow a fascist empire, objectives (super or otherwise) should be elegant and direct. Don\u2019t look for clever or fancy, look for the honest truth of a human being striving to get the thing they want or need.<\/p>\n That\u2019s the best drama, the purest drama. It\u2019s why we all keep coming back for more.<\/p>\n Good luck!<\/p>\n<\/p><\/div>\nHow Do I Find My Character\u2019s Super Objective?<\/strong><\/h2>\n
\u201cObjective\u201d versus \u201cSuper Objective\u201d<\/h2>\n
Is \u201cArc\u201d The Same Thing?<\/h2>\n
How Do I Pursue My Super Objective?<\/h2>\n
Can My Character\u2019s Super Objective Change?<\/h2>\n
Conclusion<\/strong><\/h2>\n