At some point in the pitch, the screenwriter must include information on whom the movie is about. Snyder argues that the “who” is how the audience connects to the story. The identities of the protagonist and antagonist, if there is one, should be in the logline with an adjective for both, as well as the goal they are trying to reach. Even in an ensemble cast, there is usually just one character who carries the theme or has the most growth. The ideal “hero” is one who offers conflict in the premise, has an emotional journey to go on, and is pleasing to the broadest moviegoing demographic, which is viewers in their twenties. The motivation for the hero to act must be primal, and there must be real stakes for the character if they win or lose on their journey.

Snyder advises that a screenwriter should not cast the actors before the script is sold or write parts for specific actors, as they cannot control the actors’ schedules or availability. However, just as there are story archetypes, there are actor archetypes going back to the early days of cinema, such as the “sex goddess” and the “wounded soldier” (58-59).