How to Write Memorable Villains

Villains.

You can’t have a good story without them. We loathe them. We hate them. Sometimes, we admire them. While we know the protagonist, the hero, must prevail, deep down inside, we sometimes still root for the bad guy.

So how do we create a memorable villain? The first thing we have to remember, to quote Tom Hiddleston, is that “Every villain is the hero in his own mind.” We have to remember that the villain, however horrible their deeds or deplorable their actions, believes on some level they are doing the right thing.

How is this possible?

Villains should have a sympathetic background.
C.S. Lewis wrote in his book Mere Christianity that no one does evil for evil reasons. They do evil as a shortcut to doing good. We must remember that every vain, head-of-the-football-team villain in a YA is really craving the respect and attention they feel they deserve. Every mad terrorist in a globetrotting thriller is really looking for justice for their people. Their methods are skewed, but once upon a time, their hearts were pure.

See, I think the best villains have sympathetic backgrounds. You may completely disagree with their actions and methodology – but if the writer can make the reader feel sympathy for the position the villain is in, then we are moving toward a memorable villain.

Of course, having sympathy for the villain's circumstance doesn’t mean you have sympathy for the villain.

A really great villain must be thoroughly irredeemable.
Did you read Frankenstein? I did. For most of the Monster’s story, I felt bad for the shambling corpse. He moved in with a blind dude living in the forest. (BTW, who leaves their blind relative living in the freakin’ forest?) He serves the old man. He cares for him. The old hermit introduces the Monster to reading. I started rooting for the Monster – especially considering the good doctor abandoned his creation.

Then the old, blind hermit’s family comes visiting and drives the Monster off. Still, I am filled with sympathy for the Monster – until he murders a little girl in his rage. As bad as the monster’s life has been, nothing justifies a child’s murder. Frankenstein’s Monster has truly stepped into his role of villainy once blood is on his hands.

A villain must also be more powerful than the hero.
Ever wonder why every teen movie starts with the “new girl” or the “new boy” in town? Ever wonder why these characters are lovable misfits? Because the new person, or the outsider, has no social cache with the school community they’re forced to join. The villain in these stories are more powerful than our hero because they have social power. The hero's journey will be about gaining and creating their own community – a goal opposed by the villain.

This is why political thrillers are crammed with governors, senators, and titans of industry as villains. They are inherently more powerful than the protagonist. If you were to write a story where the local office manager was our hero, but his nemesis was a lowly custodian, things would turn to comedy and farce very quickly.

A memorable villain must be an opposing force.
What’s the point of a villain who’s never in the hero’s way? Everywhere the hero turns, they should see the villain or the villain's handiwork blocking their success and frustrating them. If you’re writing a story where the stated bad guy is just grousing at the protagonist and not actively getting in their way, then you don’t have a villain. Make sure the villain is always in the way of the hero. Always thwarting their hard work and ruining their plans.

PLEASE NOTE: This doesn’t mean the villain has to be on the stage. But it should be apparent that the villain is the root cause of the hero’s problem.

A memorable villain must make it personal.
A great villain will always take things to the next level and make things personal. Whether they just want to throw the hero off their game and get in their head, or they truly want to cause the hero pain, a memorable villain will find and dig at that open wound the protagonist has been trying to hide.

Years ago I saw Prince’s Purple Rain. In it, Prince plays “The Kid,” an up-and-coming musician and his band in Minneapolis. There is a big battle of the bands competition coming up, and The Kid’s nemesis is Morris Day and the Time (another band). The Kid comes from an abusive home where his dad hits his mom. At one point we see our hero step in and defend his mother. Toward the end of act two, the father commits suicide, throwing The Kid into a tailspin right before the finals of the band contest.

As the villains, Morris Day and his band, come off stage from a triumphant set, they sing “Let’s get crazy” in a mocking tone as they pass The Kid’s dressing room. Suddenly, they stop and back up. Morris Day turns to Prince’s character and says before running down the hall, laughing, “Hey man. How’s the family?” The Kid breaks down in tears. Brutal. Just brutal. NOW, it’s personal.

If you want to learn more about villains, you can listen to the current RMFW Podcast, where I talk to the esteemed Mark Stevens about it all. On Saturday, February 17th, I will be giving an RMFW free program at the Sam Gary Branch Library in Denver on this very subject. The program starts at 2 PM, but get there early if you want a seat!

Rocky Mountain Writer #113

Jason Evans & Writing Memorable Villains

On Saturday February 17, Jason Evans is leading RMFW’s free monthly workshop and if you have trouble developing and writing your bad guy, this session might be just what you need.

The program is about writing memorable villains and on the podcast we’ve got Jason Evans here for a preview of what he’s going to cover—and exactly how he’ll inspire you to get it right. Your villain, Jason says, needs to be a “fun house mirror” version of your hero and “great villainy” grows from true pain.

Jason Evans always wanted to be a writer, he just didn’t know it. He grew up in Southern California and taught high school social studies after college until he got married and moved to Denver in 2004.

Jason continued in education until he realized his heart was in fiction. Since 2012 Jason has had several short stories published, ran an online magazine, and became a regular panelist at local conventions. He blogs regularly on his own website and Writers from the Peak, in addition to Rocky Mountain Fiction Writers.

This Spring the WhimsyCon Anthology will be published, giving Jason his first credit as an editor. Jason earned a masters in history in 2012 and, as you’ll soon find out, also has a bit of major news about his publishing career that was announced just this week.

Jason Evans' website

Intro music by Moby Gratis

Outro music by Dan-o-Songs

For suggestions about content or to comment on the show, email Mark Stevens. Also feel free to leave a comment about the podcast on iTunes or your favorite podcast provider.

Host Mark Stevens: http://www.writermarkstevens.com

Thrillers, Part 3 of 4: Villains

The villain in a thriller is generally not your run-of-the-mill murderer. He is someone with a goal in mind, and he is driving toward that goal, regardless of the damage he causes along the way. While he may enjoy that destruction, whether human (serial killer, assassin, strong-man dictator) or property (arsonist, bomber, unscrupulous land baron) he could just as easily be someone who reluctantly sees the damage he leaves in his wake as an inevitable cost to the good he thinks he's doing (religious fanatic, environmental extremist, patriot assassin). While she may be evil, to me it is much more fascinating to read about the villain who thinks she is the hero of the story, who is a true believer in a cause she has either lost perspective on or has just gone too far in support of.

Either way, his plans are greater than a single act, usually building to some larger, ultimate goal that our protagonist must prevent. In the book Silence of The Lambs, [SPOILER STARTS] Buffalo Bill is building himself a lady-suit [SPOILER ENDS]. In the film Taken, [SPOILER STARTS] Marko is seeking to keep a steady supply of fresh flesh for his human trafficking operation [SPOILER ENDS]. In my own book, Presence of Malice, [SPOILER STARTS] Gerald Gannery is determined to gaslight his partner for the embezzlement of which he, himself, is guilty in order to free himself up to take a lucrative development deal for cable TV [SPOILER ENDS].

The villain's evil usually comes not just from his own selfishness, but from his willingness, even eagerness, to accede the pain and suffering of others in order to meet his aims. Even if she agonizes over each and every life taken, she takes it anyway because to her, the end will justify whatever means she sees necessary to apply.

In a thriller there is the concept of the ticking clock, which I will explain in more detail in the next and final part to this post, but I wanted to mention here (and will most likely repeat next month) that the ticking clock doesn't necessarily have to be a literal clock. In many cases it is the deadline for the fruition of the villain's plans, whether arbitrarily set by him or by his own need for urgency due to other schedules being enforced upon him (the president's plane departs, a shipment to be hijacked is en route, the laundry truck departs the prison, etc.).

As I mentioned before, my favorite villain is the one who thinks she is ultimately doing good, or better yet the one who is besieged by guilt over her own actions but compelled to do them anyway. But there is also something to be said for the gleefully evil - the serial killer, the psycho musician convinced he is a soldier for Satan, the unhinged skinhead with a hidden lair full of torture victims, etc. Whatever your taste, always remember that to keep the tension, either the villain must not be redeemed, or if she is, it must already be too late to stop the events she has put in motion (or seemingly so, until our hero takes action).

I wanted to spend time on henchmen and other companions of the villain who must be defeated on the way to the villain himself, but that will have to wait for another, longer discussion on villains.

Meanwhile, what are your favorite villains? What bad guys do you love to hate? Let me know in the comments, below.

Three Traits of Truly Fascinating Villains … by Bonnie Ramthun

Bonnie Ramthun1When RMFW blog editor Pat Stoltey asked if I'd like to write a post I jumped at the chance. I enjoy these postings and learn a lot from them. Then the panic set in. What do I have to contribute? I looked at my current writing research and found an answer. I've recently been working on making my villains more villainous. I know that the hero of a story is only as brave and strong as the opponent he must vanquish, but I have a tendency to spend more time on my hero development than my anti-hero. Imagine, though, if Ian Fleming's James Bond did nothing but carry secret documents around from place to place with no one trying to stop him. How incredibly boring! Instead, Bond faces criminals like Blofeld, Goldfinger, and Oddjob, powerful and unforgettable enemies who threaten the world. The villain of my novel must be formidable and interesting so that my hero is greater for overcoming him.

As the writer of thrillers and mysteries for adults and middle-graders, I've been researching anti-heroes in this quest and I've discovered that there are some common traits that define an antagonist worthy of a hero's battle. In fact, a truly great evil character can almost steal the show from the hero. So let's look at three traits of exceptional villains and examine them in the context of some of the most complex and fascinating characters in three recent American television series.

1.) They are physically benign.

This is odd, isn't it? But it's true. The most enthralling villains are not towering mountains of muscle. They are instead unassuming, sometimes beautiful of feature, and never outwardly dominating. Operatic opponents like Darth Vader or Goldfinger are caricatures of evil. They certainly have their place in literature and film, but the most complex and horrifying villains are usually ones that aren't imposing in their physical form.

2.) Their goals are important to them.

The great villains of stories are never the bad guys to themselves. They are trying to achieve a goal or goals and this is deeply significant to them. If your antagonist doesn't have a clearly defined goal, they won't have the weight of their own desires to contrast with the hero. Your villain must care passionately about his goal and he will do anything to achieve it.

3.) They have a heartbreaking back story.

Fascinating bad characters always have heartbreak in their background. Some are abandoned as a child, others tormented by malevolent parents or stepparents. Some experience a trauma that forever changes them. A villain who just wakes up one day and becomes evil for the sake of doing evil isn't particularly captivating, is she? A heartbreaking backstory can bring the reader to feel sympathy for this character. The betrayal of this sympathy with evil acts makes the villain even more despicable and the protagonist is more heroic for overcoming her.

Now let's look at some villains in recent American television series. The episodic content of current television is terrific for revealing complex backgrounds of characters, good and bad. Each of these three characters show the common traits of truly fascinating villains.

Regina Mills, Once Upon A Time

Regina is both the iron-fisted mayor of Storybook and the mass murdering Evil Queen of the Enchanted Forest in the television series Once Upon a Time. She's also lovely and very small. (Trait 1.) As played by Lana Parilla, she's a 5'5" package of pure evil who transported the entire population of the Enchanted Forest into Maine so she could torment her nemesis, Snow White. This Evil Queen is not tall and skeletal and aging. Instead, she's vibrant and young and yet she commits horrifying acts. Her goal is revenge towards Snow White, who is responsible for the death of her lover, and anyone who cares for Snow White -- her husband, Prince Charming, her daughter, Emma, and anyone who befriends them, from Hook to Ariel the mermaid. (Trait 2.) Her backstory is tragic and heartbreaking, her mother a humiliated miller's daughter who crafts her child into a Queen. Regina is forced into marriage to an old King. (Trait 3.) She's a tragic figure but so sympathetic that by the fourth year of the series this mass-murdering evil Queen is turning into a hero. That's quite the journey.

Gaius Baltar, Battlestar Galactica

Dr. Baltar is a famed scientist, a kind of science rock star, in the acclaimed Battlestar Galactica series. He's so famous that a fleet officer gives up his seat to him on the last escape ship during a genocidal attack on the planet of Caprica. He's also a weak, narcissistic, self-serving coward. Slight of stature and with fine, almost delicate features, James Callis as Gaius Baltar doesn't appear to be capable of being a villain. (Trait 1.) Yet his manipulations and cowardice lead to the near destruction of the human race. His overriding goal is to save his own cowardly skin and he goes to great lengths to stay alive at all costs. (Trait 2.) Finally, his background is revealed as a Caprica pretender, a common street boy with smarts who clawed his way to the top echelons of power. He started out with nothing but his intellect and his ambition and his survival against all odds is admirable. (Trait 3.) Well, if you don't count his participation in the near destruction of the human race, that is.

Gustavo Fring, Breaking Bad

One of the most memorable villains of Breaking Bad -- and if you've seen the series, that's saying something -- is Giancarlo Esposito's portrayal of Gustavo Fring. Gus is owner of the restaurant chain Los Pollos Hermanos and also a major drug kingpin. He's a ruthless, vicious killer. But he doesn't dress in black robes and stride around with a booming voice. He's slight of stature, unassuming, bespectacled. He doesn't look like he could cut a man's throat with the speed of a striking snake, but he can. And he does. (Trait 1.) Gus has a passionate goal to destroy every member of the Salamanca family drug cartel, a carefully plotted plan that has taken twenty years to achieve. (Trait 2.) His backstory is heartbreaking. He was in a committed relationship with his partner, Max, and created a restaurant with him called Los Pollos Hermanos. An attempt to get funding from the Salamanca family went terribly wrong and Max was murdered in front of Gus. (Trait 3.) He is alone, lonely, dedicated, and quiet. He's also one of the most chilling villains to stride across the screen.

Billowing robes, giant stature, big voices and operatic evil have their place. But the fascinating villain I'm attempting to create in my latest novel will be quiet, unassuming, complex, and deadly. I hope this examination of villains helps you in your craft. Happy writing!

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Bonnie Ramthun is a Colorado mom, wife, and mystery author. Her Eileen Reed mystery novels include GROUND ZERO, EARTHQUAKE GAMES and THE THIRTEENTH SKULL. Her middle grade novel, THE WHITE GATES, was a Junior Library Guild premiere selection and a finalist for the Missouri Truman award. The sequel, ROSCOE, is available now. She’s a former chapter president of Mystery Writers of America and served as the published author liaison for the Rocky Mountain Fiction Writers. Follow her on Facebook and Twitter where her motto is: Every day is a gift.