Quests
A quest is a plot device where the protagonist has to make some kind of journey in order get something they believe they need. They have to overcome many obstacles before they reach the story’s end and may be joined by other characters along the way. There is usually some kind of antagonist or villain who is trying to attain the same goal and who will cause them many problems. Sometimes, the quest is a sidestory in the main plot and the protagonist needs to find something important in order to keep the story moving forward.
The Macguffin
To make a quest, you need something to seek. This is often referred to as the “Macguffin.” It doesn’t have to be something tangible such as a pile of treasure, but can be anything you think will make a worthy goal for your protagonist.
Some examples of Macguffins:
- An ancient superweapon
- A missing person
- A hero to save the world
- A fabulous treasure
- Immortality
- An escape
- A way home
In reality, the story isn’t just about finding these things. It’s a journey of self-discovery and growth. Sometimes, when the goal is reached, the protagonist realizes they don’t need it or it’s not what they thought it was. The treasure crumbles into dust, the missing person doesn’t want to be found, or the superweapon is far too dangerous to keep around.
In the anime Samurai Champloo, Fuu is on a quest to find her father who has been missing since she was a young child. When she finally reaches her goal, she understands that what she really needs is closure, which will allow her to move on.
The Beginning
Often, the protagonist is living in their normal world when something pushes them into beginning the journey. It doesn’t have to be an obvious, “You must leave your home and find this Macguffin or the world will end,” although that can work. The push could be a series of events that propel the protagonist into making that first step. Luke Skywalker, in the first Star Wars movie, starts his quest when he finds a robot with a secret message, and his aunt and uncle are murdered by the Jedi. This is when he sets out to rescue the mysterious princess.
Allies
The protagonist doesn’t need to make this journey alone. Along the way, they can meet other characters who will help them overcome any obstacles they face. You can give them one ally or a found family to travel with.
Of course, just because they’re along for the ride, they don’t have to believe the Macguffin is worth finding or even that it exists. They are on the journey to support your protagonist in their endeavors just like Mugen and Jin in Samurai Champloo.
Obstacles
Your protagonist should meet a lot of obstacles which will create conflict and tension. They could be another person seeking the same thing, having to cross dangerous terrain, or simply getting lost. Really you can throw anything into the mix. Just don’t make it too easy or not only will the story seem flat and uninteresting, but there won’t be much opportunity for your character to develop because overcoming conflict leads to growth.
If you decide an antagonist or villain is after the same goal, make sure they also have a logical reason for seeking it. This doesn’t have to be the same as the protagonist. For example, the villain wants to use an ancient superweapon while the protagonist wants to destroy it.
You can also take turns giving each side an advantage over the other to make it seem less certain who is going to reach the end of the journey first.
Here are some examples:
- A head start
- A clue
- Stronger forces
- More resources
- An injury
- A map
- An attack
- A trap
The possiblities are almost endless. And if the villain is smart, they might sit back and let the protagonist to do all the hard work such as finding and solving clues, going through traps, or unlocking the chamber that holds the Macguffin before turning up at the last minute to take it off their hands.
Problems
There needs to be a logical reason for the quest. This doesn’t have to be a save or destroy the world reason, but it has to matter to your protagonist or why would they bother leaving their normal world? In the City of Ember, by Jeanne DuPrau, Lily and Doon start their quest at first out of curiosity, but then continue because they know their city is dying.
Any obstacles thrown in the protagonist’s path by anyone else seeking the same Macguffin need to have logic behind them. If they are to stop the protagonist’s group from finding the next clue, this means the other side should already know where to go next. And remember, they will also need their share of obstacles to delay them from reaching it too easily.
If you add side stories for added interest, be careful these don’t distract your readers from the main goal, which should always be the primary focus. Short detours should serve a purpose such as places to gather resources, recuperate, or find more information that leads to the Macguffin.
Final thoughts
Quests are fun adventures that help your characters to discover what’s really important to them. The journey doesn’t have to be physically far, but it should have enough conflict for your protagonist to grow. Along the way, they can make new friends, overcome their flaws, and finally confront their fears.
Are you a writer looking for some help with your novel? Check out my Work with Me page to see how I help authors achieve their publishing goals.