Under the Black Hat: Writing Believable Bad Guys

Heroes and heroines tend to be the characters readers root for. Whether they're ass-kicking monster slayers, knights in shining armor, or everymen and women placed into extraordinary circumstances, it's their collective duty to get the job done. Without villains though (who see no need to differentiate based on gender), the whole story falls apart. What's the hero going to do without an evil count to oppose, a shady corporation to investigate, or a monster from the depths to slay? Absolutely nothing, that's what.

More often than not though, villains get the short end of the stick when it comes to an author's creativity. They receive stock lines, ham-handed backstories, laughable motivation, and dozens of other hiccoughs that render them paper tigers to be slain by charismatic leads. Great villains make the heroes up their collective game though, and they create better stories overall. So here is the Literary Mercenary's guide to helping you make your antagonists more awesome, brought to you courtesy of Notes From the Editor's Desk.

1. Avoid Accidental Tropes

Let me guess, you call yourself...

Every writer's first step when creating a villain should be to carefully read this list. Go ahead, I'll wait. Did you read it? Good, then I don't need to go over every trope you've just seen.

The Evil Overlord List hits on some of the biggest, most common tropes that writers have used for villains in novels, comic books, movies, and television for decades. These tropes aren't inherently bad, but they are tropes for a reason. Sometimes recognizing one of these tropes, like the hero stealing a bad guy's uniform to sneak into the castle of doom undetected, will end with readers rage-quitting and not even reading to the good part.

2. What's Their Motivation?

But why is he tying Nell to the tracks?

This is a major problem I've seen both as a reader and an editor. Readers understand villains are doing bad things... but why are they doing them? Sometimes that why is just as important as the actions themselves.

I'll give you an example. In Shakespeare's "Othello" (if you haven't seen it there's a fantastic film with Lawrence Fishburne, which I highly recommend) the title character's life is ruined by the meanness and duplicity of a fellow soldier named Iago. Iago pours poison in the cast's ears, raising every hand against Othello until the big O murders his loving, loyal wife, alienates everyone he once called friend, and is driven to suicide. Why did Iago do this? Because of rumors that Othello slept with Iago's wife, and because Othello passed Iago over for promotion.

Is that petty? Of course it is. The reason such a petty motivation makes sense is because Iago is a man playing for very small stakes. His reputation and livelihood, neither very great to begin with, are trod underfoot. Othello didn't do this maliciously, but Iago needs someone to blame for his problems. Once he has someone to blame he uses every resource at his command to bring absolute ruin to that man as a way to lash out and feel like he's getting revenge. A villain's goals, and the reasons for those goals, have to make sense in the context of that character's story. Otherwise the character is pushing the big red button without provocation, and that is the surest way to bore readers.

3. Just Because They Are Bad-Guys, That Doesn't Mean They Are Bad Guys

Art Thou Wroth, Brother?

Generally speaking, no one thinks of themselves as the villain. Dr. Doom views himself as a benevolent dictator, taking care of his people and his country. Dracula is an ancient being leaving behind a country that's killing him to seek out richer opportunity among the fresh blood of the new world. Darth Vader is the right hand of the emperor, a man who brought order to a galaxy that was tearing itself apart with war and corruption. Every character on this list, and thousands of others besides, could very easily have been the hero if the book was written with a slightly different take. No one sits around twirling his mustache and laughing wickedly about the wrongs that have just been successfully perpetrated.

It is important to mention this rule only applies to human characters who possess all of their mental faculties. A character like the Joker, who suffers from mental instability, can perpetrate acts of wanton destruction and murder for no reason other than the sheer, personal pleasure it brings. Other characters, like H.P. Lovecraft's Cthulhu or Clive Barker's cenobites, are not human. The idea of good or bad as humans know it doesn't really apply to forces of nature, or beings with a truly alien view of reality. That's why characters like these tend to have human followers whose motivations and purposes we can more clearly understand.

4. The Sliding Scale of Villainy

Just how big of an inconvenience is awakening the Old Ones going to be...?

Villains come in all shapes, and sizes. They come with a bevy of motivations, desires, goals, and wants. They are characters. It's also important to remember that villains dictate the scope of a story. Bad guys always make the first move, and they're the ones who decide just how epic a story is going to get.

Take one of the oldest stories in fantasy; the knight in shining armor fighting a dragon. The dragon has kidnapped a girl, and the knight steps in to save her. This basic setup is exciting, but the stakes are only the lives of the knight, the girl, and the dragon. Maybe the knight's horse as well. Now, say the dragon stole a princess. This implies the bloodline of a royal family, and possibly a nation, is also in the balance. Take it one step further; say the girl who was kidnapped is tied to the well-being of the world, and if she dies then the world's life force will also be snuffed out.

Villains can always escalate a situation, but writers need to ask why. What will be added to the story by increasing the stakes? Do the villains need to be on the big screen, or are their motives and goals meant for a small scale? Take Jack the Ripper. Jack terrorized White Chapel, killed a dozen women, and carved a reputation as a fiendish serial killer that lives to this day. But how much of a threat could a lone, knife-wielding killer be? Could he affect the fate of an entire city? A nation? The world? Probably not, and especially not without some serious plot-stretching or historical re-touching. This is why murder mysteries tend be very small, and very personal. By contrast, a character like Azathoth (pictured above) simply cannot work on anything less than an epic scale. A crawling chaos who devours worlds and rends souls from galaxies without truly noticing is a major league force to be reckoned with. Just the implication of his existence ups the ante.

5. Kill Your Darlings

Yes, editing feels like this. Every Time.

To paraphrase the great sage and eminent junkie Stephen King, "kill your darlings". Nowhere is this truer than with your villains. If a goal makes no sense, if dialogue feels forced or grandiose, or if the bad guy is making decisions that don't jive with the setup you've given, uncap the red pen and get to work. Most importantly, ask yourself why. Why does your villain want to rule the world? Why does he keep murdering his lieutenants when they fail? Why does he play chess, collect art, or give the hero a fighting chance? In the end, why is the most important question you can ask.


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How to Write a Strong Female Character

So you've decided to write a strong female character. Maybe she's your lead, maybe she's a secondary, or maybe she's the villain. Whatever role she fills, you want to make absolutely sure your best foot goes forward as a writer as you create a woman the likes of which no one will soon forget. The road ahead is paved with good intentions folks, so I suggest you get your hands on a good map.

Muscular Isn't Strong

If I were to say "She Hulk is a strong female character," would you know why?

Is the word "hulk" a clue?

For those of you who said it's because she can bench press a small tank, you may be missing the point of the lesson here. Jennifer Walters is Bruce Banner's cousin. She wound up with a blood transfusion that gave her many of the same anger-induced hulk powers as Dr. B., and over time she's been worked in as a member of the Avengers who can walk through a hail of bullets and rip apart alien war droids without breaking a sweat.

But you know what else? Jennifer is also a professional criminal defense attorney. She's a woman with great compassion, strength of purpose, and personal ethics. She is also not someone who, even stripped of her powers, will let you walk over her. While being a big green rage monster is certainly impressive, it's the latter characteristics that make her a strong female character. If you want a strong female character you need to examine who she is, what she wants, and how she handles both herself and the world around her. You don't have to be able to sword-fight a kraken or arm-wrestle a giant to be strong.

Aggressive Isn't Strong

There's a trend in fiction for women with attitude. It's not new, and in fact it's wormed it's way into quite a few sections of TV Tropes (stop in and take a look around if you have a few hours to kill). Strong female leads are snarky, rough, standoffish, crude, and more than a little harsh... or at least that's what you'll end up with if you're not careful.

The aggressive/bitch female character has been done to death, and she is roughly half the population of the paranormal romance genre. You've seen her, at least in passing. She's constantly talking down to people, cursing like a sailor doing a stint as an over-the-road trucker, and she's generally seen as rough-and-ready.

Ask yourself this question; if you made this character male, would he been seen as strong, or as just another posturing, preening dick wad?  I'm not saying these characters don't have a right to exist. By all means, write as many socially aggressive and foul-mouthed characters as you want! Just don't delude yourself into thinking that a "take no shit" attitude translates instantly to a pillar of strength. Mostly it just makes the character bitchy, regardless of the gender.

Violent Isn't Strong

This is sort of a sub-section of the "many kinds of strength" mentioned above, but I felt it deserved its own slot. Let me be clear, there is absolutely nothing wrong with a female character who mixes it up with the bad guys. Machine-gun-toting G.I. Janes, mysterious snipers, magic-driven sorceresses, and mutant power-houses are all more than welcome. That said, having the ability to kick the shit out of someone doesn't make you strong.

No, no, no, no... a thousand times no!

This archetype, which I recently found out thanks to Tumblr (follow me there if you're of a mind) is referred to as the fighting fucktoy. You couldn't have avoided this one if you were sitting under a rock with your eyes closed and your thumbs in your ears. In movies she's Elektra, Catwoman (the Halle Berry version anyway), Alice (of Resident Evil fame), and the list goes on and on. She's a one-woman weapon, covered in guns, resistant to damage, able to leap tall buildings at a single bound and beat a horde of ninjas to death with her bare hands. So why isn't she strong?

The reason is that it isn't about her; it's about the male audience viewing her. All you need as proof of that is what she's wearing. If a woman was a dedicated vampire hunter she would, I guaran-goddamn-tee you, be wearing body armor. She wouldn't have a bare throat, much less a bare midriff. She would have sensible boots, probably with steel toes, and none of this stiletto-spike nonsense. Do you know why? Because if she were this kind of hardened warrior, even if she were indestructible for some reason or other, she would not go into the field in fetish gear. It's impractical, and it goes directly against the grain of the sort of character that's being portrayed.

There's a lot wrapped up in this, from endless arguments about boob armor (yes they exist), to why female superheroes dress so skimpily, to just how much attention should be paid to a female character's outfit during a fight scene. So, I'll cut through all of that and just say this instead. If you are writing a woman warrior, switch her gender. If she looks, sounds, or acts ridiculous, chances are it's because you tried to make her strong and sexy, but failed at both.

Sexy Isn't Strong

Feminine wiles have been used in stories ever since oral history. Whether it's the Black Widow seducing secrets out of world leaders, or the exotic dancer who dangles men like plot points from her fingers, sexuality and the embracing thereof is supposed to be a sign that a character is strong. It's not. It just means she's sexy.

In all fairness, there are worse things to be.

Sex and sexuality is an important part of who a character is and what she does. If she uses sex as a weapon or a tool, then that is a part of her character. If she's promiscuous, then that is also all right. She could also be a temple virgin, a medieval nun, or a happily married housewife. Sex doesn't make you strong either by its presence or its absence.

Masculine Isn't Strong

I'm not even going to grace this section with a picture. There's this idea that in order to be strong, a female character can't be feminine. This is hypocrisy at its finest. An author who falls into this trap strips away anything feminine from a character; she won't use makeup, she'll dress in masculine clothing, she'll use blunt language, and in many circumstances she'll even approach sex from a more traditional masculine perspective. Often the mysteries of the feminine confuse her, such as getting her hair cut at a stylist, wearing dresses, or the finer arts of seduction. This is not inherently wrong, as there are occasions where a woman might not have been exposed to these aspects of culture. It doesn't make a character strong, and if taken to extremes it can make your character seem outright ridiculous.

The Secret of Strength

Okay, so now we've covered what a strong female character isn't. So how do you do it? Start by listening to this man.

Who were you expecting?

I am not saying here that George R. R. Martin is the greatest writer who ever lived. Nor am I saying that you should imitate everything he does. However, to paraphrase him, when George was asked how he writes strong female leads his response amounted to, "I was always had the weird notion that women are people."

There you go.

The idea of a strong female character is flawed premise; simply write a strong character. That character should not be wholly defined by gender anymore than he or she is defined by ethnicity, profession, familial upbringing, or anything else. These and a thousand other things will shape the character into who he or she is, but no one factor should be given the absolute power to define everything else.

Writing strong characters isn't easy; if it was then everyone would be doing it. But much like getting six-pack abs or winning a golden globe award, there are no short cuts. You have to practice, research, and constantly ask yourself who your characters really are. Only then will you be able to create real, believable characters regardless of their genders.


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