Vibrant & Vile Villains by Jenny Jensen
October 19, 2020 by Jenny Jensen in category On writing . . . by Jenny Jensen tagged as Complex villains, Good villians, Villains, writing
“All stories are about wolves. Anything else is sentimental drivel.”
Margret Atwood
That’s a strong statement—lots of ways to interpret it. I love it because to me, it says that all stories should have a villain. And I agree. How can you have the good without the bad? Where would the tension live? If something has to be overcome, you need a villain to vanquish. And if the plot needs redemption the story needs a villain to redeem. (A Christmas Carol without Ebenezer’s reform? Unthinkable.)
The villain isn’t always a person. It can be an institution,or an illness, or Mother Nature. All those ‘larger issue’ villains work for some magnificent tales, but my favorites are the really awful, mustachet wirling, gloating, cackling, venal bad guys.
Good Villains–we love to hate them
Good villains, the kind we love to hate, are never one dimensional tools included just to make the protagonist work hard to overcome something. A well-drawn villain is a fully fleshed out character with attributes, history, and purpose strong enough to motivate and justify the hero’s tribulations. We’re so fully shown who and what Mordred is that his relentles spursuit of King Arthur is entirely credible—and because Arthur is beautifully depicted
—it’s personal to the reader. Now that’s an enthralling story.
Whether redeemable or irredeemable the villain is often the best part of a story. No one can think of Oliver twist without Fagin popping upwith his “…face obscured by a quantity of red hair” as he beats and betrays the children he has enslaved. We don’t forget Oliver, but we don’t dream about him either (or is that a nightmare?). When a character is that memorable it’s because something, if not everything about him, is relatable.
Complex Villains
To develop a really badass villain, one whose actions the reader can understand and accept, the character needs some face time. Not as much as the hero certainly, but enough to lay the background for future actions, enough to make him real and fathomable. There is nothing more boring than a serial killer who is seen only through the gruesome details of the killing. If he is complex, as real people are, if he is exceptional in some way that supports an evil bent, then all the more disconcerting—like the jolly neighborhood butcher whose cutlets may not all be beef.
Some of the best villains have sterling personality traits. Perhaps they’re charming, or witty, well mannered and gracious. Traits contradictory to the villain’s actions make those bad actions all the more frightening. Showing the bad guy through contradictory traits is a powerful tool but if you work at it you can spin evil traits to appear benign—until they’re not. That’s chilling.
A well-developed villain written as an authentic character will give any story the spice it needs. Who will your next villain be?
0 0 Read more
Vibrant & Vile Villains by Jenny Jensen
December 19, 2018 by Jenny Jensen in category On writing . . . by Jenny Jensen tagged as Good villians, Villains, writing“All stories are about wolves. Anything else is sentimental drivel.”
Margret Atwood.
That’s a strong statement—lots of ways to interpret it. I love it because to me, it says that all stories should have a villain. And I agree. How can you have the good without the bad? Where would the tension live? If something has to be overcome, you need a villain to vanquish. And if the plot needs redemption the story needs a villain to redeem. (A Christmas Carol without Ebenezer’s reform? Unthinkable.)
The villain isn’t always a person. It can be an institution,or an illness, or Mother Nature. All those ‘larger issue’ villains work for some magnificent tales, but my favorites are the really awful, mustachet wirling, gloating, cackling, venal bad guys.
Good villains, the kind we love to hate, are never one dimensional tools included just to make the protagonist work hard to overcome something. A well-drawn villain is a fully fleshed out character with attributes, history, and purpose strong enough to motivate and justify the hero’s tribulations. We’re so fully shown who and what Mordred is that his relentles spursuit of King Arthur is entirely credible—and because Arthur is beautifully depicted
—it’s personal to the reader. Now that’s an enthralling story.
Whether redeemable or irredeemable the villain is often the best part of a story. No one can think of Oliver twist without Fagin popping upwith his “…face obscured by a quantity of red hair” as he beats and betrays the children he has enslaved. We don’t forget Oliver, but we don’t dream about him either (or is that a nightmare?). When a character is that memorable it’s because something, if not everything about him, is relatable.
To develop a really badass villain, one whose actions the reader can understand and accept, the character needs some face time. Not as much as the hero certainly, but enough to lay the background for future actions, enough to make him real and fathomable. There is nothing more boring than a serial killer who is seen only through the gruesome details of the killing. If he is complex, as real people are, if he is exceptional in some way that supports an evil bent, then all the more disconcerting—like the jolly neighborhood butcher whose cutlets may not all be beef.
Some of the best villains have sterling personality traits. Perhaps they’re charming, or witty, well mannered and gracious. Traits contradictory to the villain’s actions make those bad actions all the more frightening. Showing the bad guy through contradictory traits is a powerful tool but if you work at it you can spin evil traits to appear benign—until they’re not. That’s chilling.
A well-developed villain written as an authentic character will give any story the spice it needs. Who will your next villain be?
1 0 Read more
Featured Books
THE CASE OF THE QUESTIONABLE QUADRUPLET
A patient shares a puzzling secret with Dr. Darcy—and then someone kills her.
More info →
BEYOND CONTROL
Present Danger—When Victoria Bradford got engaged, she told herself to give love a chance. Six months later, she's on the run from her angry, abusive ex-fiancé with her four-year-old daughter and nowhere to go.
More info →
