CHARACTER

The oldest play known to history (The Persians by Aeschylus) is almost 2500 years old. That’s two and a half millenia in which playwrights and theatre makers have been able to practice their craft, experiment with their techniques, and study the successes (and failures) of their predecessors. 

In comparison, the world’s oldest podcast has just turned 22.

I started my career in live theatre, indoctrinated early into agreeing with Shakespeare that “all the world’s a stage,” so when I tell you I think your podcast is a play (yes, even your interview show about cyber and IT regulatory compliance) I really mean it. Even if you’re less inclined than me to see the dramatic potential in the everyday, I hope I’ll be able to convince you that after 2500 years, there are a few things playwrights can teach podcasters about captivating, dynamic storytelling.

The elements that make up a good play – that provoke, move, educate, and entertain audiences – are the same elements that make a good podcast, just in different packaging. Master them, and you’ll unlock new opportunities to connect with and compel your listeners.

Starting with: character.

What is a character?

By definition, a character is a constructed persona with unique traits, motivations, and mannerisms. Characters are vehicles for storytelling and can be used as symbols to illuminate themes or as conduits for the audience, representing diverse, relatable perspectives.

In a podcast – whether narrative, non-fiction, documentary, or conversational – every speaker is a character. It’s useful to think about their purpose, and consider the characteristics that can be emphasized or imposed to make that function clear. This will also help differentiate their personalities for listeners. 

Below are some examples of classic character roles that you may want to include in your podcasting toolbox:  

Character Roles

Protagonist: The central character or hero of a story, the audience typically follows the protagonist’s journey as they face obstacles and make decisions that affect the outcome of events.

Podcast Example: Your host isn’t always your protagonist – in Season 1 of Serial, Adnan Syed is. Although the show tugs at the question of whether Adnan is a hero or an anti-hero, Syed plays the central role in the show’s exploration of the murder of Hae Min Lee, Adnan’s ex-girlfriend. 

Antagonist: Often considered the villain of a play, the antagonist drives conflict, creating obstacles and challenges for the protagonist to overcome. 

Podcast Example: Piers Morgan is an example of a host who leans into classic characteristics of antagonists on his podcast and talk show Uncensored. Morgan emphasizes the brash, critical, and argumentative elements of his personality to provoke his “scene partners” and create conflict. 

Deuteragonists: Deuteragonists are secondary characters that fill out the world of a play, making it feel real and alive. They are friends, allies, or other important people in the protagonist’s life, and their journeys often run parallel to the protagonist’s. 

Podcast Example: In Freakonomics, host Stephen Dubner’s curiosity and questioning drive each episode of the show, which uses economic principles as a means to better understand a variety of topics and behaviours. Dubner is the show’s lead, but he is frequently joined (particularly in early seasons) by his co-author, economist Steven Levitt. Levitt plays the role of a deuteragonist, joining Dubner in his quest for information while providing additional commentary and expertise. 

Confidant: Usually a kind of deuteragonist, the confidant is someone the protagonist trusts and goes to for advice. They offer a sounding board for the protagonist’s fears and feelings, and dole out the occasional helping of tough love, aiding the protagonist in making key decisions.

Podcast Example: Hosts frequently play the role of the confidant in podcasts. In Where Should We Begin, host and therapist Esther Perel allows her guests to take on the protagonist role and, throughout each episode, she helps them share and navigate challenging scenarios from their real lives in a therapy environment. 

Foil: Foils are, in many ways, the opposite of the protagonist. They may have similar goals, but their personalities and approaches to problem-solving are very different.  Through the foil, we see the protagonist more clearly. 

Podcast Example: On the popular chat show Giggly Squad, co-hosts Paige DeSorbo and Hannah Berner are friends, but also each other’s foils. Paige and Hannah frequently emphasize their differences (Paige is elegant and fashion-forward, Hannah is quirky and athletic), and their “opposites attract” friendship makes them memorable, endearing them to their fans. 

Tertiary Characters: These characters fill out the world of a story, adding detail and variety. They tend to be flatter, or less complex, than the primary and secondary characters. While they might be connected to minor plot points, they’re not usually very important to the overall storyline. 

Podcast Example: The Right Time with Bomani Jones is a sports and pop culture podcast where the producer (usually a behind-the-mic role) becomes an occasional character, chiming in now and then. It isn’t uncommon in podcasting for producers to play tertiary roles – they might fact-check a host, add a sly comment, or maybe something so funny happens that their laughter is unintentionally caught on mic. This kind of character is not integral to the conversation, but their participation adds atmosphere and emphasis. 

Character roles define the function of a character within a play or story, but there is a lot more you can explore when it comes to developing the people who populate your pod.

The Archetypes

Character archetypes, or stock characters, are like templates for a character. These templates feel universal and are immediately recognizable to audiences. While the details of each archetypal character can (and should) be unique, the broad strokes of their personalities and motivations reappear in narratives time and time again as part of a storytelling tradition. 

Many, many archetypes and subtypes have been identified by theatremakers, authors, and storytellers, but the twelve most commonly cited – first categorized by the psychologist Carl Jung – are the following: the Lover, the Sage, the Innocent, the Explorer, the Ruler, the Creator, the Caregiver, the Magician, the Hero, the Outlaw, the Jester, and the Everyman (or Regular Person). 

When deciding who to feature in your true crime podcast, or the dynamic you want between your host and their expert guests, consider leaning into archetypes. We’re all programmed to recognize and respond to familiar characters in familiar ways, so archetypes can be short cuts for your audience, allowing them to understand and empathize with your characters on a deeper level, fast. 

Since many podcasts feature real people, having real conversations, understanding archetypes can also provide insight into how audiences might view and categorize your ensemble. With this awareness, you can intervene early if you suspect someone is at risk of leaning so far into a “type” that they become an unintended cliché. 

So, who are you to your audience? Who is your host? Thinking about character the way playwrights do can enrich your show, giving you more control over your narrative and ultimately a deeper connection with your audience. So, cast carefully and remember–we’re all “merely players.”