Tag: writing villains

Villains and Secondary Characters: Positioning and Mystery

When considering the character arc of villains and secondary characters, how that arc resolves is often considered in relation to the hero/protagonist. That does not have to be the ultimate determining fact, though.

Positioning

It is all right for a secondary character to start and/or end up in a better position than the main character. If a secondary character is better suited or more qualified to rule or win or gain a benefit, then it is logical that they would unless the writer provides a good enough reason for a different outcome. Secondary characters should be allowed to act on their strengths and fail or struggle based on their weaknesses. Don’t limit a secondary character’s arc just for the sake of making the main character look better.

It is also acceptable for a villain to reach a resolution that is more positive than expected. Part of a villain’s character arc may be self-improvement, so a better-than-expected resolution may be warranted. It may also be the case that an equitable ending between the villain and hero is not the most reasonable or desirable outcome for the story.

The hero (or villain) does not always have to end in that role. Switching roles are altering a main character’s path can be an important element of development for that character. Allow his or her traits and personality to determine the path taken, rather than locking him or her into a particular role.

Mystery

When writing a main character, it is often necessary to divulge a great deal of detail, going into backstory, motivations, thoughts, and feelings. When developing a secondary character, it is often necessary to be more sparing with details due to space constraints. That doesn’t mean that these characters are incomplete.

Revealing fewer details can work to your advantage and help you create some mystery and opportunities for future development in later stories or chapters. Reveal details about a secondary character that are pertinent to the main storyline or main character’s development. Hold back other details, but do so in a way that motivates the reader ask questions and wonder.

Give enough details about a secondary character that the reader can understand that character’s personality, culture, place in the story, relation to the story and main character in time, and his or her potential character arc. Leaving out more specific details reminds the reader that there is more to the story and makes the story world feel more realistic because it extends beyond the immediate storyline.

There is so much more to a great story than a lovable hero. Readers need to connect emotionally to every character on some level to keep them interested and involved in the story. Love or hate or something in between, reaction is key. Apathy toward characters breeds disinterest. Disinterested readers put books down and look elsewhere…permanently.

Villains and Secondary Characters: The Easy Way Out

It can be very tempting to take the easy way out when it comes to creating, developing, and wrapping up a villain’s character arc by deeming them “evil” and going no further.

A villain’s motives are one of the character aspects that can easily be neglected without even realizing it. When creating a villain, he or she must be motivated to do something that will make the hero’s journey more difficult. These motives have to be believable and realistic, though. They have to be TRUE motives in order to be believable.

Mental illness is not a villainous motive, though it can be part of the villain’s overall character profile and influence his or her motives.

Motives also need to make sense. If villain’s goal has to be met simply because it “HAS” to be met in the story, that is an Author-Created motive or will not create as strong of an interest with readers as a motive which comes from deep within the villain’s personality and backstory.

An example of an author-creative motive that doesn’t make sense and irritates readers/viewers is from the film “Hocus Pocus” when the witches have a whole group of children hypnotized and arriving at their home to be drained of life, yet the witch Winifred insists they put off their ultimate goal of endless youth to hunt down the trio of main characters who escaped their clutches, which of course leads to their ultimate downfall. Logically, the witches should have sacrificed the children in their possession, assured their youth and power, and then went after the characters who escaped.

Having characters demonstrate a few stereotypically “evil” characteristics or acts with no substantive backing falls flat with readers. True “evil” is complicated and complex and is built off villains who are equally complex.

How Do You Create a Complex Villain?

Start with these 5 questions…

  1. What is the villain’s motivation to reach their goal?
  2. How will they determine success?
  3. What can the villain NOT lose?
  4. Why does the villain fight the hero?
  5. What will the world be like if the villain “wins”?

Answering these questions will help you dig deeper into why a villain does what he does, wants what she wants, and believes what he believes.

One doesn’t have to operate with great malice to do great harm. The absence of empathy and understanding are sufficient.

Charles M. Blow, journalist

When developing villains, strive to make villains human, but a human who has been twisted and warped into doing and believing despicable or immoral things.

Villains and Secondary Characters: Show vs. Tell with Villains

Because is it so important for readers to connect with the villain or antagonist, show vs. tell is a necessary discussion.

The two extremes of the show vs. tell villain spectrum are the Throne-Sitting Villain and the Hands-Dirty Villain. There are, of course, myriad points between these two on the spectrum, but finding the right balance for a particular story can make or break a reader’s ability to make and maintain a connection to the villain.

The Throne-Sitting Villain

This type of villain rules tyrannically, but never takes direct action. He or she remains apart from the hands-on aspects of the plan or journey. He or she makes decisions and delegates the dirty work.

Readers never “see” this type of villain actually being evil. The reader must rely on author “telling” him or her that the villain is bad news. This creates a weaker connection with the reader, in most cases, and makes the hero’s connection to the villain more abstract.

Secondary antagonists become more important barriers or stumbling blocks than the main villain and readers typically form stronger bonds with those characters instead. This may be an effective tactic over the course of a series, where individual lower-level antagonists are featured in specific books or sections with the overall villain remaining in a “throne-sitting” role until entering the story for a final confrontation.

A good example of this type of villain is Sauron from The Lord of the Rings. Minor villains such as Saruman, Gollum, The Witch King, the Goblin King, etc. present multiple barriers along the heroes’ journey to keep them from destroying the One Ring, all while Sauron quietly directs things from his tower. Sauron never really presents as an embodied, physical villain the heroes need to fight, leading to a weak connection with the readers as actual main villain of the story.

The Hands Dirty Villain

This type of villain takes direct action against characters who the reader cares about, creating an immediate and recognizable sense of threat and dislike in the reader’s mind.

Direct action by a villain against a hero creates an emotional investment for readers. Rather than simply an overarching feeling of conflict, every action and decision matters to the reader because it could directly impact the characters who the reader is emotionally bonded to.

The close conflict between and hands-dirty villain and the hero creates an intensity in the story that is hard to match with a non-present villain. Tensions run higher with more frequent or up close interactions or battles.

A good example of this type of villain is Dolores Umbridge from the Harry Potter series. Umbridge is an agent of Voldemort, but while Voldemort rarely makes appearances in the series, villains like Umbridge inflict physical and emotional pain on Harry on a regular basis, constantly reminding the reader how much he or she dislikes the villain and wants him or her to fail and be punished.

Finding Balance

A villain in a story doesn’t have to be only one or the other. It’s important to evaluate a story carefully in order to determine what point on the spectrum will work best. A villain may also move along the spectrum during the story in order to control pacing. When planning interactions between heroes and villains, consider how that reaction will impact the reader’s connection to both the hero and the villain.

Villains and Secondary Characters: Characteristics of a Villain

AMC ranked the Top 20 villains from films, which I think gives writers a good starting point when considering what characteristics make for a good villain. Let’s take a took…

  1. Dr. Hannibal Lecter (Anthony Hopkins) in The Silence of the Lambs (1991)
  2. Norman Bates (Anthony Perkins) in Psycho (1960)
  3. Darth Vader (David Prowse/James Earl Jones) in The Empire Strikes Back (1980)
  4. The Wicked Witch of the West (Margaret Hamilton) in The Wizard of Oz (1939)
  5. Nurse Ratched (Louise Fletcher) in One Flew Over the Cuckoo’s Nest (1975)
  6. Mr. Potter (Lionel Barrymore) in It’s A Wonderful Life (1946)
  7. Alex Forrest (Glenn Close) in Fatal Attraction (1987)
  8. Phyllis Dietrichson (Barbara Stanwyck) in Double Indemnity (1944)
  9. Regan MacNeil (Satan) (Linda Blair) in The Exorcist (1973)
  10. The Queen (voice of Lucille LaVerne) in Snow White and the Seven Dwarfs (1937)
  11. Michael Corleone (Al Pacino) in The Godfather, Part II (1974)
  12. Alex DeLarge (Malcolm McDowell) in A Clockwork Orange (1971)
  13. HAL 9000 (voice of Douglas Rain) in 2001: A Space Odyssey (1968
  14. The Alien (Bolaji Badejo) in Alien (1979)
  15. Amon Goeth (Ralph Fiennes) in Schindler’s List (1993)
  16. Noah Cross (John Huston) in Chinatown (1974)
  17. Annie Wilkes (Kathy Bates) in Misery (1990)
  18. The Shark in Jaws (1975)
  19. Captain Bligh (Charles Laughton) in Mutiny on the Bounty (1935)
  20. Man in Bambi (1942)

What characteristics do all or most of these villains share?

POWER

Villains shouldn’t be easily defeated. It must be challenging for the hero to overcome the villain or it won’t be an interesting or fulfilling quest. This could be physical, mental, emotional, or some combination of power.

A villain can’t be unbeatable, though. Develop valid reasons that the villain is difficult to defeat, such as having more experience, knowledge, physical ability, connections, etc.

Vary the types of power a villain has in order to create interest and multiple avenues of challenge. Types of power might include, physical strength, magic, intelligence, money/influence, resources, etc.

Make use of opposing powers. The villain should have power that corresponds to a hero’s weaknesses. This will push the hero to develop and grow and create a more interesting storyline and character arc.

Changeability

It is important that a villain be changeable. A villain having the ability to change threatens the opposition and has the potential to stall the hero’s progress. A stagnant villain is boring and easier to defeat.

Possibility of change also opens up avenues for a villain or antagonist becoming a reluctant ally. An unexpected turn can increase reader interest and allow for the goals of the hero and villain to temporarily align before returning to battling against each other.

The villain achieving his or her goal is often more important than individual conflict with the hero and can break ties and push him or her to accept temporary alliances in order to further a goal.

Personality

Villains must have rounded personalities with depth in order to be believable and interesting.

To be rounded, a villain cannot be all evil or do evil things for evil’s sake. He or she should have multiple motivations, which are often conflicting and a source of inner struggle.

To create depth, villains should have a complex history and challenging experiences. Often he or she will have suffered some level of psychological or emotional damage that has skewed his or her perception of love, power, and/or right and wrong. The villain’s initial state at the beginning of the story should be shaped by past experiences without relying too heavily on common tropes.

Evolution

A villain must evolve and have a definable character arc. His or her goals, motives, and agendas should change throughout the story depending on what is experienced.

Evolving doesn’t necessarily mean “seeing the light” or changing for the better. Villains can become worse or more damaged if that is what the experiences dictate.

Villains should also learn from his or her mistakes. Do not allow a villain to repeatedly make the same stupid mistakes. It will be seen as unbelievable and irritating. Villains should be trying to defeat the hero just as hard as the hero is trying to defeat the villain.

Questionable Morality

Villains are rarely completely immoral. They simply have a warped sense of morality due to past experiences. This atypical morality may be derived from superior intelligence that makes a villain believe he or she knows better and sees more clearly than others.

This leads a villain to develop their own moral code. The villain usually believes in the “rightness” of his or her own code and believes that societal or religious morality does not apply because he or she is above it.

Determination

Well-crafted villains don’t give up easily. A villain is most often single-mindedly driven or obsessed with achieving a goal. However, it’s important that a villain still have moment away from this drive where the reader can learn more above him or her and see more deeply into his or her psyche. Truly obsessed characters are tiresome to read.

A driven personality is one the focuses intently on the idea of winning, and this attitude can be a consuming aspect of a villain’s nature because it ties the self to the achievement of the goal. It also pushes a villain to refuse to fail, which can push a person well beyond what a regular person would be willing to do.

When developing a villain, consider these elements and go beyond concepts of good and evil or right and wrong and focus on making a villain as interesting and, in some ways, relatable and likable, as your hero.

Villains and Secondary Characters: Basic Traits of Villains

This writing craft series will focus on tips for making readers love the villain and remember the side characters.

What is a villain?

“A cruelly malicious person who is involved in or devoted to wickedness and crime; a scoundrel; or a character in a play, novel, or the like, who constitutes an important evil agency in the plot.“

Random House Dictionary

“Villain” is a simplified term. These tips apply not only to writing villains, but to developing antagonists, oppositional characters, and those characters whose purpose is to act as a stumbling block or interference. For simplicity, I will use the term villain.

These types of characters are important because they often set the tone of the conflict and influence how and why the hero or protagonist is struggling.

Each film is only as good as its villain. Since the heroes and gimmicks tend to repeat from film to film, only a great villain can transform a good try into a great triumph.

Roger Ebert

Basic Traits of Villains

Villains have a negative effect on other characters. The type of negative effect can be wide ranging depending on the type of story. He or she might cause emotional, physical, or mental damage, act as a hindrance to the hero’s goals, actively work against the hero’s mission, etc.

The villain provides conflict for the hero through his or her negative influence or impact. Whatever actions a villain takes should have a purpose directed toward making the hero’s goals more difficult to achieve. These can be very subtle actions or direct and apparent actions.

A villain most often “mirrors” or “contrasts” the hero by exhibiting characteristics which oppose the hero’s desirable characteristics. This shines a light on the development of the hero and provides an example of what the hero may become should he or she not fulfill their goals.

A villain’s motives for doing wrong must be GOOD motives. Being evil or evil’s sake is not a good motive. Every villain must have good reason for thwarting the hero, even if he or she doesn’t fully understand those reasons. The villain may believe he or she is right in what they are doing, may despise the hero and actively wish to harm them, etc. Developing a good reason for a villain’s behavior stems from a great backstory.

“In the real world there are no villains. No one actually sets out to do evil… Fiction mirrors life. Or, more accurately, fiction serves as a lens to focus of what they know in life and bring its realities into sharper, clearer understanding for us. There are no villains cackling and rubbing their hands in glee as they contemplate their evil deeds. There are only people with problems, struggling to solve them.“

Ben Bova

Next week we’ll dive deeper into what characteristics are important in developing a villain!