Writing the Effective Villain

Copyright 2000 by Ruth D. Kerce A lot has been written about how to develop the hero and heroine in a story. An often overlooked, but e ually i!portant character, is the villain. "e#$he !ust also be developed properly to !ake the plot believable. %any of the techni ues used to develop other characters will also work in developing the villain, but there are so!e additional factors to keep in !ind when you are writing a &bad guy or bad girl.&

1. Don't Let Your Villain Intimidate You

'he villain can inti!idate your characters, but shouldn(t inti!idate you) otherwise, you won(t be able to write hi!#her effectively) if you(re pulling back in your writing, then you won(t do the character *ustice) get hi!#her under your control or the villain will fall flat and not sound convincing) in other words, don(t be afraid to write &evil&.

2. Even Villains Have A

ood !ide

Re!e!ber that no one is all good or all bad) a villain can have a soft side, too) !aybe it(s for wo!en or children or ani!als or so!e aspect of the hu!an condition) your villain is a &bad guy#girl,& not a de!on +unless you(re writing a horror story,) so !ake hi!#her a believable hu!an being.

". Villains Have A #eason $or Ho% &he' Act

As the writer, it is essential you know the villain(s !otivation +even if the reader doesn(t,) only this way will you be able to keep his#her words and actions consistent) he#she acts evil for a reason) even if that reason is &cra-y& in the eyes of society, the villain believes the reasoning is logical and perfor!s accordingly.

(. )e A%are *f &he +,lass+ *f Your Villain

.illains co!e in !any different shapes, for!s, and backgrounds) these factors will deter!ine how you present the character) a s!all/ti!e drug dealer will act, speak, dress, and !ove differently than a corporate spy) do your research.

-. Don't *verdo It
'his doesn(t !ean to pull back in your writing) however, don(t get &villain/ happy)& !ake your villains as evil as they need to be for the storyline, but no !ore than that) otherwise, they will either ring untrue or they will take over the story, distracting fro! the hero, heroine, and original plot

.. !etting /la's A #ole

'his !ay see! obvious, but a villain fro! the present and a villain fro! out of history or fro! the future needs to be viewed and written differently) society changes over ti!e, and

a villain in the past, !ay not be a villain in the present or the future) for e0a!ple1 in the 23th century, witches//particularly on the 4ast coast//were considered villains by a large portion of society and were incarcerated or put to death) however, now that belief is no longer a &fren-y& in our society) so when you incorporate a villain into your plotline, that villain need not be an all/ enco!passing villain, but si!ply needs to be a villain in the conte0t of the particular the!e of your story

0. Do You 1eed A Villain2

Don(t use a villain unless you need a villain) an unnecessary villain is a nuisance, not an asset to a story) don(t create one *ust to have one) the villain !ust have a reason for being there other than si!ple shock value) !any plotlines revolve around the internal conflict between the hero and heroine and do not need a villain in order to tell the story.

3. A Villain's Demise
5inally, your villain !ust get his#her punish!ent in the end) if he#she si!ply disappears, then you(ve given the villain too !uch power) take away his#her power) give the reader the satisfaction of closure for all the evil that the villain put your hero and heroine through) this doesn(t necessarily !ean that the villain !ust die, but he#she should suffer in so!e way for his#her actions.