Whoa Writing: The Villain is the Hero in Their Own Story
From time to time, I like to reflect on lessons learned from reading through the 350–400 submissions we receive each year. There are patterns that emerge that offer guidance for writers looking to make their writing stand out. This periodic series of posts shares observations based on these experiences.
Who’s the hero of the movie Mean Girls? Is it ingenue and audience proxy Cady Heron? We see the world of Northshore High through her eyes. We feel her friendship with Janis and Damien. We ache over her crush on Aaron Samuel. We laugh as she pranks Regina and the other Plastics. Sure, toward the end of the film, we get a little worried that she’s gone too far. And she does neglect her real friends in favor of being popular. But she’s the hero, right?
Or could it be brash, confident Regina George? Regina’s the queen bee, head of the Plastics, and “teenage royalty” according to others in school. She has a mean streak for sure, but she’s worshipped by students. And the Plastics, as popular as they are, seem isolated from school activities. They seem content to enjoy shopping and fashion, with little need to mix with other cliques at school. And then Cady arrives.
Here’s where our perspectives diverge, and we see two characters living two very different storylines. Cady is getting revenge on Regina for spreading rumors and for being popular. Regina is going about her business as usual, but finding that much more difficult. Her skin is breaking out. She’s gaining weight. Her friends abandon her. Regina figures out all these problems are Cady’s doing. In the end, she turns self-destructive in an attempt at revenge on Cady. And then she gets hit by a bus. Didn’t see that one coming… literally.
No matter who we think the actual hero and villain are, both Cady and Regina are living as the heroes of their own stories. This is how the best villains are crafted! For authors looking to make compelling villains, think about making the villain the hero in their own story and these additional 3 questions.
1. Does the villain’s plan make sense?
Stories usually have villains to drive the plot and/or to throw obstacles in the hero’s way. But the best villains have plots that actually make sense. To avoid spoilers, let’s use Harry Potter as our example. Ubervillain Voldemort is looking for a method to restore his corporeal form and retake power, with the goal of raising wizards to a ruling class (rather than a hidden society) and subjugating muggles (the wizarding term for nonmagical people). And he tries all kinds of things to achieve his goal! Finally, after an impossibly elaborate plot in Book 4, Voldemort succeeds in restoring his body. And next on his list? To kill Harry Potter, whom he views as his last obstacle to restoring his power.
With a cadre of loyal followers and magical powers greater than any living wizard (save one), Voldemort’s plan makes sense. We understand what he’s trying to achieve and what he will do once he achieves it.
When assessing a villain’s plan, interrogate the character. Ask questions like, “If you’re successful, what’s your next day look like? How does the rest of your life play out? Are there future things you won’t be able to do because of your success?”
It’s one of the reasons heist stories usually feature characters living outside of the law. For a normal person, even if they were able to steal a bunch of money, it’s difficult to know what to do with a whole bunch of cash or jewels, let alone a hijacked truck full of fur coats.
2. Does the villain have explicable motivation?
Sure, the villain wants to [insert plot point here—steal something, hurt someone, rise to the top, whatever], but WHY do they want that? A good villain needs a grievance. They need to be attempting to right a wrong or restore a perceived unfair balance in what life doles out. Think about The Godfather—a perfect hero/villain debate. Italian Americans, kept out of jobs and careers because of racial prejudice, band together to create their own economy, one that depends in part on illegal activities. We understand why a person in this setting might commit crimes. How else can they achieve the American dream?
When assessing a villain’s motivation, ask, “What wrong was done to you? Are you balancing the scales of justice (in your own mind), or merely greedy?”
3. Do the villain’s means align with their target end?
With the hero to thwart their progress, the villain’s plan will go awry, no matter the strength of their motivation. In attempting to get the plan back on track, do the means the villain is willing to use match their desired end?
For example, a good villain probably wants to get away with their villainy. They want to enjoy the spoils of their wrongs. To achieve this, they can’t commit wonton destruction, or there’d be no way their crimes would be ignored. A good villain doesn’t want to be hated (and indeed, might wish for nothing more than to be ignored), so cruelty against the innocent is a nonsensical act for a well-crafted villain. And yes, the villain might respond to adversity with violence, but only against a reasonable target, someone the audience might even say “had it coming.”
Interrogate your villain: “Are there any lines you won’t cross? Is there any action too far? And if you go too far, how does it make you feel? Do you have morals and values, a sense of ‘honor among thieves?'”
Of course, not every villain in a story needs to meet all of these elements. A villain who is “crazy” can be compelling. Same with a villain who is ignorant or prone to lashing out or flawed in innumerable other interesting ways. But for writing that really stands out, the villain should be the hero of their own story.
Who are some of your favorite villains in stories? Have you crafted a compelling villain in any of your work? Are there other elements that you believe create a great villain? Share your thoughts in the comments!