A story is only as good as what it's fighting against. With
TV and modern cinema becoming increasingly versed in developing compelling
protagonists that aren't the most
boring of the lot, the stakes have never been higher for creating even better
antagonists. As writers, our job is to drive through the toll-gate of typical
villainy and reimburse the cashier of gripping drama, no matter what the story
may be. Here's a couple of quick tips that I've used in the past that I believe
can work wonders in adding that extra dimension to your Big Bad.
1) Nail Down Their
"Believability"
Depending on your project, you're going to have to make some
choices pretty early on as to how you're going to make your villain "real"
in your story world. On one end of the scale, you have your typical comic book
super-villains, with a little leeway to adapt their portrayal tonally - for
example, Cesar Romero's Joker vs
Heath Ledger's. On the other hand, your drama may call for a more complex,
morally grey character, who is just as "real" as your protagonist, if
not moreso. No matter how grounded or heightened they get, keep them believable
in your narrative.
2) Write Their Story
First
Many writers like to start off a new script or project with
some sort of outline or plan as to what exactly is going to go down in their
story. Most of the time, it's move protagonist from point A to B to C, charting
their change along the way. Scrap that idea right away, and reverse your
perspective of the story. People always say you have to know your story
backwards, and mapping out the reasons, events and significant characters
within the antagonist's story is only going to help make them more believable and
identifiable.
3) Give Them More
Empathy
Yeah, this one is kinda of a no-brainer, but it's often
overlooked. I like to think of an old weighing scale that holds the antagonist
on one side and the protagonist on the other. The secret to the best conflict is
to keep them perfectly balanced, by making us side with the hero due to their
positive actions, but still maintaining enough empathy for the villain that
they seem equal. I should also note, there is a difference between empathy and
pity. Make your villain tragic without venturing into melodrama, and audiences
should be able to relate.
4) Add A Lesser
Antagonist We're Allowed to Hate
There's nothing better to offset hatred than more hatred in
stories. Say what you will about modern society, but the smug jerkass always
has a place. Have the audience subconsciously pour all of their disliking onto
a single, carefully placed target, and they'll be putty in your hands when the
real villain swoops in. You could even go a step further and have the villain
dispatch or get rid of the jerk themselves. By this point, you'll have your
viewers fist pumping in the cinema and their sofas.
5) Twist Their Noble
Goal
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What does your villain's ultimate goal stem from? More
heightened characters often use the old "trying to make the world a better
place" shtick, which does have its merits. Maybe your character is simply
all about doing right by their love ones. Give them a goal that is more noble than your protagonist's and
suddenly there's conflict. The way that they become the apparent antagonist is
in their execution of this noble
goal, often being blind to the actual cost of their actions - it's your hero's
job to make them see that before it's too late.
6) Find Their
"Scene Stealing" Voice
The manner in which your villain expresses themselves is everything when it comes to how
seriously we take them. It's a tough task to avoid the "James Bond"
clichés and the needless pomposity when your antagonist is supposed to be
superior on the surface, but it is possible. There's also a real temptation for
lengthy monologues - DON'T. Your
character is much more threatening when they say very little and let their
actions speak for them. A distinctive verbal tick or a specific turn of phrase
can help distinguish what little dialogue there needs to be.
7) Build Up Their
Antagonism Slowly
There's nothing more heartbreaking than seeing a character
we thought was good or at least virtuous turning out to be the villain. Small
moments of conflict at the beginning of your tale can be an indicator of what's
to come, without jumping straight into the big stuff you'll be saving for your
story climax. Best of friends can become worst of enemies, but you don't have
to go that route. In fact, knowing the villain from the start but not having
the hero meet them until about half way though can also be very effective, creating
anticipation for the big showdown (which your hero should lose by the way).
8) Give Them A Unique
Scene With The Protagonist
Not every scene needs to have large scale conflict - the
most memorable can be moments of calm between your two duelling leads. For
example, arguable the best scene in Heat is
when Al Pacino's Lieutenant Hanna meets Robert De Niro's bank robber Neil
McCauley in a diner. They discuss everything that's come before, and everything
that's going to come after, knowing the next time they meet, only one of them
is going to make it out. It's powerful, distinctive and continues to fuel that
all-important conflict in a more meaningful way.
9) Make Their Defeat
As Tragic As Their Backstory
So your hero wins - that's a fairly expected outcome, though
not set in stone. But you can't just have the villain knocked out by a single
punch. They've been defeated because
they have not changed, and their singular focus on their goal has ultimately
been their undoing. If the antagonist seeks ultimate power, have them not be
worthy to control it. If they want justice, have them be on the receiving end. In
some cases, you may even want the villain to see what they've done far too
late, perhaps prompting some sort of sacrifice on their part. Make us sad that
someone had to lose.
10) Have Them Change
Every Other Character
For better or worse, all of your characters are going to
respond to the central conflict in some way. The true colours of your
supporting cast should be revealed as slowly as you build up the antagonist. Some
may live, some may die. Some may gain everything, some may lose it all. Your antagonist doesn't just have to be your
protagonist's enemy. Ultimately, the villain sets the story in motion, making
them arguably more important than your hero. Make a list of every character in
your story, and, one by one, sort out how they'll be affected by your
antagonist. Then, you're on to a classic.
James Cottle, after
studying Scriptwriting for 4 years, is now an embittered real life freelance
writer, and seeks to unlearn everything he knows. But he needs your help...
Follow him on Twitter @Jxmxsc and share this blog to help spread his anarchic
plight for reform amongst the writing masses.
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