Writing Villains. How to create the Best Baddies.

How can you write more effective bad guys? Give them a bigger sword? A more evil cackle? Or could the key to unlocking great villains be in your hero? Shock twist!

TRANSCRIPT:

Hello, folks, I’ve got to the point in the draft of this book when my traitor is about to be revealed and to be honest, the identity of this villain has ping-ponged back and forth in my head up to now. And it’s only really today I’ve got to know who they are that I’ve decided, yup, this is who it’s going to be. I’m glad to say I was surprised by the choice and that hopefully will translate into a nice surprise for the reader, too.

Of course, this means that for the next draft, I’ll have to go back and make sure it all makes sense and ensure that I leave just enough clues for the reader to allow them to add two plus to slap themselves on the forehead and realise that the answer was in front of them all along. Because that’s what you want from your readers. You want them involuntarily slapping themselves. It’s what all great writers aspire to. And what it did get me thinking about is what makes a good villain.

In earlier videos you will have heard me banging on about how theme is story fuel, how once you figured out what your central dramatic argument and theme is, you can use that to drive the protagonist’s story forward. If you’ve not seen that video, I’ll pop a link in the description below. Knowing what theme is really helps me whenever I get stuck. So for this novel, my theme is — and I always like to post theme as a question — are we better off working with others or alone?

It’s a simple question, but one that can’t be answered with a yes or no. Nothing too mind boggling, but good story fuel. And that question is what I challenge my protagonist Faye with in every chapter of this story. The funny thing is, listeners, this principle can also apply to writing your antagonist. Writing a good villain can be really tricky. You can spend so long focussing on the motives of your protagonist that when it comes to the villain, the temptation is to go, 

“Ah, whatever they just abadie dress them in black, make them do terrible things. The reader will get the idea. But there is a way to make your villains much more effective in a way that the reader will find a lot more satisfying. And it comes back to theme. So if your hero represents the thesis of a dramatic argument, your antagonist can represent the antithesis. In other words, your villain can be motivated by the opposite of your hero’s position on a theme.

So if I think of an example, in the case of my book, for example, if Faye thinks she can achieve her goals by working with others, the antagonist might do better by working alone. They might have had a terrible experience working in a team, and have struck out solo to get revenge. Also, having a thematic motivation will add a dollop of dimension to your villain that might just appeal to the reader and your hero. So the hero can’t just walk away from the villain because the baddy’s argument might at some point tempt our hero to jump ship to the other side.

The theme is a connection between the two of them that will make for compelling reading. So they might they might be a mirror of our hero and share many of their values. You see this in a lot of romances, so Elizabeth Bennet and Mr. Darcy in Pride and Prejudice, for example. The villain could be a dark shadow. Darth Vader is exactly what Luke Skywalker might become if it gives in to his anger. Or they might even be their own worst enemy. Think of George Bailey in It’s a Wonderful Life.

There’s countless ways of playing with this, but whatever direction you choose to go in, if you try and make you heroes and villain connect thematically, it will be a much more satisfying experience for you and the reader. Of course, this is all much easier said than done, and I now need to figure out how to make this work in my book. Wish me luck. Any questions on this? Is there anything you’d like me to cover in future videos? Drop me a line or leave a comment below. Until next time, happy writing.

First Drafts… What needs to be right, and what can I fix later?

Is it okay if the first draft of your novel or screenplay is a little rough? I like to think so. Here are few tips that will help you get to the end of a messy first draft, not least the one thing you should try and get right first time…

TRANSCRIPT:

Hello, folks, when writing a first draft, is it OK if it’s, well… a little rough? I’ll be honest with you, I don’t know how to do it any other way. My first drafts are rough as sandpaper. And long ago I came to terms with the fact that I’ll probably rewrite a novel or script at least three, four or five times before it’s anything like as good as it needs to be. If this sounds like you, then rest assured you are not alone.

In over three hundred episodes of the Bestseller Experiment podcast, I’ve interviewed two, maybe three authors who are happy with their first drafts. The rest of us have to put up with the poor, wretched Frankenstein’s monsters that we will create out of pain and suffering. Here’s a question: with the first draft, what needs to be right and what can be fixed later? Well, what needs to be right? Well, none of it, really. I mean, it can be a complete disaster.

There’s a reason that first drafts are called — and apologies if you’re eating — first drafts are sometimes called vomit drafts. So please don’t overburden your first draft with your expectations. Nobody’s first draft will read like a published novel. The sooner you accept this, the more liberating it will be for your writing. I mean, I still stop myself and fix typos as I go, which is one of the reasons I’m writing more and more by hand, actually, because I scrub it out.

But if you can just burn through, and not look back, the chances of you finishing that first draft increase exponentially. You might be big outliner, but don’t feel that you need to slavishly stick to an outline, as that can create all sorts of problems, not least shoehorning your protagonist into situations simply because the Hero’s Journey or Save the Cat says so. Permit yourself the flexibility to change your story when writing. Be open to the story opportunities that will emerge as you get to know your characters.

So I’m currently working through my first draft of my next book now, and there are things that change and evolve in the characters in the story. And the temptation to go back and fix them now is really overwhelming. But… experience tells me that’s a rabbit hole that creates more problems than it solves. If you start tinkering with stuff back there, then you start second guessing stuff that you haven’t written yet, and you end up being dragged into a swirling vortex of despair.

And no one needs that. Not these days, especially. I simply leave myself a little note in the comments and I’ll focus on fixing it in the next draft, because my priority is to finish this first draft, because nothing is more important at this stage than finishing a draft. I can make fixes on the next pass to the one after that or the one after that.

Or… You get the idea. However, if you want to concentrate on one thing and get that right first time round, make it your protagonist. Your entire story hinges on their journey. So if you haven’t figured out what they want and how the journey would change them, then maybe take a second to suss that out. Start with the simple stuff. How do they start the story and how they change by the end? Some of you out there will have heard me say this a million times before, and I’m quoting screenwriter Craig Mazin here.

But if you can figure out how your protagonist goes from “this” to “the opposite of this”, then you have the through line and central dramatic argument of your story.

Now, of course, there are authors out there who write painstaking first drafts that are as good as ready for publication, but they are rare as hen’s teeth. So if you think your first draft is ace. Fantastic. Good for you. But please don’t be discouraged if you feel your first draft is lacking. I think 90 percent of writers out there will be with you in solidarity. You are not alone. I hope that was helpful. Happy writing. See you again soon.