If you’ve been following my blog for long, you know I’m a big believer in the idea that character is the driving force, the beating heart, of any story. Even in the most action-packed, twist-filled adventure, plot is the result of decisions characters make. Without those decisions—without those characters—nothing would happen. (If you need some brainstorming tips, I write about how to develop those bingeworthy characters in the first place here.)
So, if it’s the characters that drive the plot, then what drives the characters? Their objectives. The decisions compelling characters make revolve around what they want more than anything else in the world — and what they’re willing to do to get it. And to start to understand what those objectives look like and how they ultimately shape the plot of a story, there’s no better introductory course than the world of musical theater.
Writers, let me introduce you to the “I Want” song. This song comes early in the show and spells out, in no uncertain terms, the protagonist’s most heartfelt desires.
“I have learned over the years that pretty much any successful musical you can name has an 'I Want' song for its main character within the first fifteen or so minutes of the show. I can think of exceptions, but frankly, I feel that the lack of such a moment is a weakness in most of those cases.”
What Makes a Good “I Want” Song?
For Lin-Manuel Miranda, it’s specificity and it’s a burning desire that outshines everything the character currently knows (and often even loves):
“What does your character want? What makes her unique? And what makes her very specific? ‘Part of Your World’ is my favorite ‘I Want’ song… It’s from ‘The Little Mermaid.’ And it’s because it’s so specific. You know, that brilliant conceit of her not having the names for the human things. ‘What’s that word again? Feet!’ That’s sort of the brilliant thing.
“I actually wrote a first draft of the song that eventually became ‘How Far I’ll Go,’ called ‘More.’ And it was a good song, it was perfectly fine, and [Moana] was sort of like, ‘All right, I’m hip to this island. I want to see what else is out there.’ But then, I think the key insight that really made the song what it is is: It’s not about not liking where she is and wanting to go somewhere else. She loves where she is. She loves her parents. She loves her island. She loves her community. And there’s this voice anyway.”
I would add that, along with proclaiming the character’s ultimate desire, a powerful “I Want” song also makes her biggest obstacle clear.
What does Ariel want? To experience the human world. What’s stopping her? She’s been taught that the human world is bad and to want it means she’s bad, too. What about Moana? She wants to leave Motunui and find out what else is on the horizon, but her family expects (demands) that she stay on the island and fulfill her role as leader of her people — with both feet firmly on the sand.
Let’s look at a few more examples from popular musicals.
Hamilton: “My Shot” outlines Alexander Hamilton’s objective, which is to make a name for himself by bringing freedom to the colonies despite his humble background. (And as a bonus, antagonist Aaron Burr sets up the foundation of his beef with Hamilton in this song, too, telling him to lie low if he wants to get anywhere.
Wicked: “The Wizard and I” showcases Elphaba’s desire to meet the wizard and become renowned for her work with him. And it also highlights her biggest obstacle, which is that she’s literally green, so others isolate her and overlook her abilities.
Hercules: “Go the Distance” is young Hercules’s vision of finding somewhere he belongs, where he fits in and is welcomed with open arms — and determination to do whatever it takes to get to that place. As Lin-Manuel Miranda mentioned in discussing Moana, seeking this objective means Hercules has to leave a home with adoptive parents who love him dearly, but the desire supersedes that love, so he sets out.
Frozen: “For the First Time in Forever” is Anna’s “I Want” song, telling the world that she’s desperate to leave her isolation and let light and fun and love back into her world. And “Let It Go” is Elsa’s, claiming exactly the opposite — she wants to be left alone so she can stop trying to hide her powers and living in fear.
I’m going to stop there, because I could literally list hundreds of these songs, but unfortunately, I don’t have time to play in this musical rabbit hole forever. For more examples, Spotify has “I Want” song playlists from both Disney and Broadway. Have fun!
How Does This Translate to Writing a Novel?
Your novel may not have a scene in which your main character shouts her deepest desires from the rooftops, but you, the author, need to unlock that fervor in your protagonist anyway, and let that fervor drive the decisions she makes throughout the novel. So, how can you do that? Why not try writing your own “I Want” song? (Okay, it doesn’t have to be a song. It can be a monologue in prose if you’d prefer, but whatever form it takes, make it a manifesto!) With the Alexander Hamilton’s passion and Ariel’s specificity, outline exactly what your main character wants more than anything (in her own voice), what she thinks is stopping her, and what lengths she’s ready to go to to make it happen.
One important note: your protagonist may not get what she wants in the end, and that’s okay. Her goals may change as she learns more about the world and herself, or she may have that desire firmly in her grasp before realizing it’s not all she’d thought it would be. But even if that original objective is not your end game, as the author, as far as the protagonist concerns, it’s her end-all-be-all. So make sure she’s all in.
What is your character’s main objective? If you try your own “I Want” song, I’d love to know how it went! Drop me a note, or share in the comments below.
Want More Character Development Insights?
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