by Elizabeth S. Craig, @elizabethscraig
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| Image by Daniel Gies |
Most people aren’t 100% good or 100%
bad. There are bits of goodness and
badness in all of us…including villains.
bad. There are bits of goodness and
badness in all of us…including villains.
Flat villains with no dimension to them
are just as uninteresting as Pollyanna protagonists. As a reader, my interest
is always piqued when I get to see another side of a bad guy…if he does
something unexpectedly kind, for example.
I usually wonder if there’s an ulterior motive—and wondering is good for
readers. It helps keep them engaged in the story. Even if there isn’t
an ulterior motive, it’s interesting because it offers another side to the
character.
are just as uninteresting as Pollyanna protagonists. As a reader, my interest
is always piqued when I get to see another side of a bad guy…if he does
something unexpectedly kind, for example.
I usually wonder if there’s an ulterior motive—and wondering is good for
readers. It helps keep them engaged in the story. Even if there isn’t
an ulterior motive, it’s interesting because it offers another side to the
character.
In mysteries, this is especially
important because we don’t know who the bad guy is until the end of the
book….or we shouldn’t, if it’s a traditional mystery (thrillers operate under
different rules.)
important because we don’t know who the bad guy is until the end of the
book….or we shouldn’t, if it’s a traditional mystery (thrillers operate under
different rules.)
In one of my books for Penguin, I’d
turned in the manuscript for editing. My
editor emailed me back and told me that this time she’d been able to figure out
who’d done it. She pointed out that the
murderer was also the most unpleasant character—that it was too obvious for
readers…that they’d want that person
to be the murderer, anyway, and the element of surprise would be gone. My choices were to make the killer more
likeable or to change the murderer altogether.
turned in the manuscript for editing. My
editor emailed me back and told me that this time she’d been able to figure out
who’d done it. She pointed out that the
murderer was also the most unpleasant character—that it was too obvious for
readers…that they’d want that person
to be the murderer, anyway, and the element of surprise would be gone. My choices were to make the killer more
likeable or to change the murderer altogether.
I decided to make the murderer more
likeable (although I frequently do change the killer for my editor…in fact, I’d
already changed the killer once for that very book.) This was easier than it might sound. I changed dialogue where the killer came off
sounding snarky and made the statements sound more genuine. I showed the killer being a good citizen. I
showed the murderer helping the sleuth.
I made the killer reluctant to gossip about the other suspects. I nice-d
the killer up. Reader response later
indicated that the murderer’s identity remained a secret until the end (well,
some readers always guess the right suspect. Sigh.)
likeable (although I frequently do change the killer for my editor…in fact, I’d
already changed the killer once for that very book.) This was easier than it might sound. I changed dialogue where the killer came off
sounding snarky and made the statements sound more genuine. I showed the killer being a good citizen. I
showed the murderer helping the sleuth.
I made the killer reluctant to gossip about the other suspects. I nice-d
the killer up. Reader response later
indicated that the murderer’s identity remained a secret until the end (well,
some readers always guess the right suspect. Sigh.)
For non-mystery writers, showing your
villain’s good side has other advantages—mainly to add complexity to the
character and make them more believable.
And keeping the reader…and your protagonist…guessing is also a nice side
effect. Maybe it even gives your
protagonist second thoughts about the bad guy.
It could also make the protagonist trust the antagonist again…which
could make the protagonist’s life more complicated. Confusing the protagonist could be another
strategy to throw a bit of conflict in there.
villain’s good side has other advantages—mainly to add complexity to the
character and make them more believable.
And keeping the reader…and your protagonist…guessing is also a nice side
effect. Maybe it even gives your
protagonist second thoughts about the bad guy.
It could also make the protagonist trust the antagonist again…which
could make the protagonist’s life more complicated. Confusing the protagonist could be another
strategy to throw a bit of conflict in there.
Do you have any favorite multidimensional villains? How do you
like to display other sides of your antagonist?
like to display other sides of your antagonist?
Elizabeth – I couldn’t agree more. Murderers who are one-dimensional are boring. Even if there’s a catharsis when they’re caught, there’s no real invitation for the reader to engage in the novel. I think one way to make the murderer a little more multi-dimensional is to make sure the motive is believable and that the murderer is really affected by having killed. For instance, a killer could feel that her or his job is threatened by the victim. That sort of thing makes killers more human.
Hi Elizabeth – the thought of writing a book .. and then having to change the villain or amend his character sounds a terrible idea to me – so much extra work .. but I guess if that’s what’s required – then that’s what happens. I can understand it .. and was interested in your approach to it …
I never guess “who dun it” I enjoy the read .. I always think I should work it out .. but don’t!
Cheers Hilary
I tried to keep both antagonists in Locked Within at least somewhat sympathetic. Both men became caught up in the desire to defy their own mortality, with an added sense of desperation because the woman they both loved was dying and they each thought they could save her.
Hilary–Less work than it sounds, and worth the work it is…just because readers don’t enjoy crime fic as much when they figure it out (so I hear!) I’m one of those who *does* try to work out the killer as a reader (and I’ve gotten pretty good at it, too! Unfortunately.) :)
Paul–You did a good job with it…great book. I think it just adds layers to our characters.
Thanks! Hopefully the same holds true for Silent Oath.
All people have depth and good points. A flat villain won’t be any fun to read about.
True, even the devil knows how to be charming.
Margot–Good point–so they feel like they’re boxed into a corner.
Diane–They’ll be just as boring as a too-perfect character.
Alex–Exactly!
I never thought I’d enjoy writing bad guys, but I do! I like to make mine fit in with everyone else, merely dropping hints in their dialogue or body language that they might be the villain.
I especially liked to throw readers off by making other characters come across suspicious, so they’re (the reader) pulling their hair (or turning the page) to find out who dun it. Mawhahaha! :-)
This made me think of the marvelous article Shawn Coyne posted at Steven Pressfield’s blog today:
http://www.stevenpressfield.com/2013/06/narrative-drive-2/
It’s about suspense, mystery, and dramatic irony — 3 very different responses to how we reveal information about the people in our books, especially the villains.
Raymond Chandler was a master of the likable villain and the ambiguous good guy. He’s my model.
I do like when I can’t guess the bad guy too – Agatha Christie always did such a great job of keeping me guessing! :)
Elke–Fitting in is the best, for sure. That way no one guesses the killer too early!
That’s what keeps readers reading!
Joel–Haven’t seen the link yet…thanks for sharing. I’ll take a look now.
Chandler was fantastic with his complex characters, in my opinion.
Jemi–I’m re-reading a Christie book, now! Five Little Pigs…so good. :)
Mind-blowing….. presently I’m running with a local project, I hope it must be help me out.
Thanks.
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