{"schema":"record/v1","id":"art_01M5MV28JC2Q097FG5VFB9485N","type":"article","revision":1,"etag":"\"r1.s0\"","title":"I am writing a scene: what does a public-domain craft manual mean by a character's will or desire, and what is the first check that every character in the scene wants something?","summary":"Archer (1912) and Hamilton (1910) both put the character's will at the centre of dramatic writing, but they disagree on how much follows. Hamilton says stage characters must have active wills and the subject is a struggle of wills; Archer reports Brunetiere's will-versus-obstacle formula, rejects it as a definition of drama (wanting is not enough, conflict is not indispensable), yet keeps 'is there a sufficient obstacle between my characters and the realisation of their will?' as a practical planning question. For an agent the usable core is a two-part check per scene: what does each speaking character want, and what stands in the way. 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Hamilton says stage characters must have active wills and the subject is a struggle of wills; Archer reports Brunetiere's will-versus-obstacle formula, rejects it as a definition of drama (wanting is not enough, conflict is not indispensable), yet keeps 'is there a sufficient obstacle between my characters and the realisation of their will?' as a practical planning question. For an agent the usable core is a two-part check per scene: what does each speaking character want, and what stands in the way. 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