Villains Need Love Too
by Jason Black
We writers shower our protagonists with authorial love. We give
them challenges they can just barely overcome, faults and foibles
which make the challenges harder. We imbue them with character arcs
and shower our attentions upon them.
But our villains need some love too. In particular, they need
Usually it's the antagonist's job to make the plot challenging for
our protagonist. Having done this, too often writers think the job
is done. We often give our villains no further attention than this,
and it's a mistake.
Villains need to be just as real as the protagonist, often more so.
In novels where the villain does bad things that are obviously bad,
the believability of the whole novel hinges on believing in the
villain's choice to take those actions. That, in turn, means
creating a character whose reality is such that those bad things
seem to make sense. After all, the villain is the hero of his or her
Take Glenn Close’s character in Fatal Attraction. Alex
Forrest didn’t think of herself as a bad person. She was the heroine
of her own story. And just like a heroine, she had a goal in mind:
She knew what she wanted and wasn't going to let it go without a
fight. She had motivation driving her toward that goal, and
obstacles to overcome in pursuit of it.
Here are four reasons why giving your villain a character arc helps
Believability and drama
A villain who is nothing more than one-dimensional stereotype is
neither believable nor dramatic. A one-dimensional character's
actions and motivations will be too predictable and, consequently,
not dramatic. A meaningful character arc adds dimensions to the
character, which gives believability but also unpredictability.
Unpredictability creates a sense of threat—you never know what a
real person might do, right?—which generates fear for hero and
reader alike. Drama shoots way up.
If adding one character arc for your hero gives your novel depth,
then surely adding a second arc for the villain will give your novel
even greater depth, right? In fact, yes. Even if you put no more
thought into it than that, the villain's arc still improves your
novel. But if you give it some thought, you have an opportunity to
multiply the benefit, rather than merely adding. Why not make the
villain's arc work as a logical counterpoint to the hero's arc?
Perhaps the arcs run in parallel, leaving the reader with true
ambiguity over who was the good guy and who was the bad guy in the
book. That's great when your goal is to show that life is rarely so
black-and-white as we like to think. Or perhaps the arcs run in
opposite directions: we see the hero start from a low place and
rebuild through good choices motivated by all the right reasons,
while simultaneously watching the villain start from a high place
and fall to ruin through bad choices motivated by all the wrong
When two arcs have an identifiable structural relationship to them,
you create additional depth through the similarities and
Message and meaning
You can also relate two arcs through a common theme as a means to
create a deeper meaning for the book as a whole.
By relating both
the hero’s and villain’s arcs to the same underlying facet of the
human condition, you can examine that facet from multiple points of
view. You allow the novel to present a nuanced consideration of
tolerance or responsibility or suffering or whatever common element
It's not quite heroes-and-villains, but a good example is Jane
Austen's Pride and Prejudice. In it, we watch a handful of
romances begin and develop in different forms, no two alike. Austen
uses these to examine the question of marriage from many angles,
revealing her own opinions through the fate of her central
protagonist, Elizabeth. On one end of the spectrum is young and
impetuous Lydia, seduced into a hedonistic relationship with the
predatory Mr. Wickham and nearly brought to ruin. On the other is
Elizabeth, who overcomes both her pride and her prejudice to see the
true goodness of Mr. Darcy, and is rewarded with a fine marriage and
great wealth. The others fall in between.
Nowhere does Jane Austen need to beat the reader over the head with
the messages “don't be too quick to judge” and “hold out for true
love.” It's all there between the lines of the character arcs.
At its root, a character arc represents hope. An arc signals that
change is coming, and thus, things may improve. If your give your
serial-killer villain a meaningful character arc, then the reader
can hope he may change, that he may give himself up before killing
again. A character arc offers the tantalizing possibility of
redemption for even the blackest-hearted of villains.
Certainly you are not required to redeem the villain simply because
he has an arc. But if you’re doing it right, the character arcs will
culminate at pivotal moments in the plot, where the characters must
choose. A hero who is on an upward arc will choose well and succeed
in completing the arc. The unredeemed villain will choose poorly
and fail to complete the arc.
Keep it believable
Whichever way you decide to go, the characters' choices must be
believable. They must be supported by everything that has led up to
them, so readers can look back and understand why the character
would make that choice in that pivotal moment. It's a fine line to
walk, but as novelist Michael Snyder said in an interview on
As a novelist, you want the reader to experience two conflicting yet
simultaneous reactions [to your endings]. They should be saying
“Wow, I never saw that coming” and “Of course, sure, yeah, it had to
work that way, didn’t it?”
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Jason Black is a Seattle area book doctor who helps novelists sort
out the thorny issues in their novels. He is a regular presenter at
the PNWA Summer Writers Conference, and is writing a handbook on
character development techniques. To learn more about Jason or read
his blog, visit his website at