A dramatic work has only one central character. There may be secondary characters of equal importance to the overall narrative, but in the vast majority of literary accomplishments from Dracula to Candide, Tootsie to RichardIII,Madame Bovary to Priscilla, Queen of the Desert, there is only one central character. This character’s motive—what he/she wants in terms of a goal or objective–drives the story. This is the engine, the seminal force of the action. Action is the operant word in story, fluid and unrelenting, not to be confused with activity, which is often casual and directionless. The central character’s determination to follow what is often an obsessive course propels the action. This energy connects us to the central character. This dominant skein in a story commands our attention.
This imperative may also be subtle. Take Shakespeare’s Romeo and Juliet;
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