What’s the point of it all? Ever wonder that about a character in a script you’re reading? Why are they doing what they do, enduring tests and hardships and heartbreak with the odds stacked against them? Usually—if the story is good and compelling—it’s to achieve their character’s super objective.
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.
As an actor, determining your character’s super objective is everything. Without a primary want driving them through a narrative, they’ll drift along from scene to scene without momentum. They’ll 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…
How Do I Find My Character’s Super Objective?
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’s for their personal betterment—or for the betterment of their world if they’re the heroic type.
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 plot device used by a writer to motivate a character towards their larger, cosmic desire.
The One Ring in The Lord of the Rings is a great example, as is The Heart of the Ocean in Titanic or anything Indiana Jones chases after. A character might fight a dragon to save the kingdom. However, their super objective isn’t killing the dragon: it’s the enduring safety of their homeland.
So, back to that initial question: what does your character more than anything? If the answer is “treasure”, or “a crown” or “a glove full of infinity stones”, there’s likely something more—some deeper goal—that you can identify. Look for what makes them the best, most evolved version of themselves.
“Objective” versus “Super Objective”
Many actors confuse the concepts of objective and super objective when they do script analysis or scene work. Usually, it’s a case where an actor identifies the super objective, missing the point of the scene in question entirely.
Here’s a hypothetical:
Aspiring comedian Sandra is trying to borrow her flatmate’s car keys so she can get to the comedy club and audition for the best talent agent in town. She’s been preparing and perfecting her stand-up set for nearly half the movie, and it’s now or never for her to seek fame and fortune.
What’s her objective? A lot of actors would say “to be a professional comedian”. This is not true, as it a) does not involve her scene partner and b) can’t be achieved within the confines of the scene. “To be a professional comedian” is a super objective. Her objective is to borrow her flatmate’s car keys.
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.
Miss a step? You risk a trip or a fall…
Is “Arc” The Same Thing?
Well for starters they’re spelled different! But seriously, folks: an arc represents the character’s 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 how they change and grow.
And that’s 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…
If you were to plot your character’s arc, you’d have an easier time of understanding how they develop throughout a narrative. It’s 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.
How Do I Pursue My Super Objective?
The best way to pursue your super objective is one scene/one moment/+one line at a time. Focus on your character’s immediate objective first—because that will ultimately allow them to progress in the story. But keep your finger on the pulse of why that objective serves their larger goals.
It’s why concepts like the moment before and asking “What’s my motivation?” are so helpful in preparing a scene. Because they contextualise a character’s actions within a scene; they make it fit within their larger arc and show how they’ve 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. Because it all builds to something.
And don’t forget that the super objective of a character may trump their immediate desire for a particular action or outcome in a scene. In Hamlet, 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’s right there! What the hell is he waiting for?! But Hamlet shows mercy in that moment because his super objective is justice—not petty revenge. And so a quick stabbing in a vestibule, even of the main villain, won’t solve a thing.
Can My Character’s Super Objective Change?
A character’s super objective can absolutely change! In fact, it makes for some of the best dramatic arcs in storytelling. Shift’s to a person’s entire reason are usually messy (in the best possible way), and for that reason are very hard to miss.
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.
Like an objective in an individual scene, you must have a damn good reason to shift a super objective. Usually, it’s 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’s super objective is to be with Romeo … right up until she watches him die. Then her goal changes rapidly and morbidly.
Conclusion
So there you have it! If you’ve experienced any confusion on the concept of the super objective, we hope this quick guide will give you some clarity.
Don’t forget: whether your character wants to borrow $5 or overthrow a fascist empire, objectives (super or otherwise) should be elegant and direct. Don’t look for clever or fancy, look for the honest truth of a human being striving to get the thing they want or need.
That’s the best drama, the purest drama. It’s why we all keep coming back for more.
Good luck!
