What secret is your character keeping? Why are they safeguarding it? What’s at stake if it’s discovered? Does it need to come out at some point, or should it remain hidden?

This is some of the important information you need to know about your character’s secrets—and they will have secrets, because everyone does. They’re thorny little time bombs composed of fear, deceit, stress, and conflict that, when detonated, threaten to destroy everything the character holds dear.

So, of course, you should assemble them. And we can’t wait to help.

This thesaurus provides brainstorming fodder for a host of secrets that could plague your character. Use it to explore possible secrets, their underlying causes, how they might play into the overall story, and how to realistically write a character who is hiding them—all while establishing reader empathy and interest.

Maybe your character…

Monitoring Someone Without Their Knowledge

ABOUT THIS SECRET: While there are legitimate uses of monitoring (say, placing a legal wiretap on a suspect’s phone, collecting intel as a private detective or undercover cop, etc.) privacy laws and heavy regulation usually require it be disclosed or in plain view (but never in a private space such as a bathroom). However, what’s legal and what isn’t doesn’t concern characters on the unsavory end of the spectrum—criminals, Peeping Toms, captors, hackers, stalkers, cyberbullies, blackmailers, or other characters who operate outside the law. This entry focuses on these character types.

SPECIFIC FEARS THAT MAY DRIVE THE NEED FOR SECRECY: A Secret Being Revealed, Being Attacked, Being Unsafe, Discrimination, Government, Persecution

HOW THIS SECRET COULD HOLD THE CHARACTER BACK
Having to keep people at arm’s length so their activities are not discovered
Being torn over monitoring another if feelings become involved
Developing an obsession that takes over their life
Being unable to have genuine relationships (due to a fear of discovery)
Not seeking help for mental and emotional conditions that may be lurking beneath the surface

BEHAVIORS OR HABITS THAT HELP HIDE THIS SECRET
Avoiding friendships and personal connections
Having a secure area to plan and store items needed to monitor (computers, hard drives, etc.)
Taking precautions to stay undetected and not raise suspicions
Being disciplined (resisting temptation to take things too far or get close enough for discovery)
Following certain protocols to stay undetected
Being someone forgettable (being polite but not memorable, seeing boring and harmless)

ACTIVITIES OR TENDENCIES THAT MAY RAISE SUSPICIONS
Being a recluse, causing others around them to wonder what the character is up to
Carelessness (sloppy hacking, obvious daytime survellience, etc.) that is noticed
A cold, detached demeanor (that makes the character memorable to others)
Being discovered in a place they are not supposed to be
Not hiding monitoring equipment well enough, leading to its discovery

SITUATIONS THAT MAKE KEEPING THIS SECRET A CHALLENGE 
Circumstances that suddenly change (like a loss of privacy)
An unforeseen challenge that the character is unprepared for
Needing to take in a roommate to keep up with costs
Having a nosy neighbor or family member
Becoming attached to a target

Other Secret Thesaurus entries can be found here.

Need More Descriptive Help?

While this thesaurus is still being developed, the rest of our descriptive collection (18 unique thesauri and growing) is accessible through the One Stop for Writers THESAURUS database.

If you like, swing by and check out the video walkthrough for this site, then give our Free Trial a spin.

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Character Secret Thesaurus Entry: Monitoring Someone Without Their Knowledge appeared first on WRITERS HELPING WRITERS®.

By Savannah Cordova

It’s been said that every good story needs a villain. While that villain doesn’t have to be another character — it can be something more abstract, like a supernatural force or even fate itself — this “person-to-person” conflict is often what’s most compelling for readers.

But just because you’ve landed on this form of conflict for your story, doesn’t mean everything will naturally fall into place; far from it! An antagonist in this sense must be just as carefully developed as your protagonist, and it’s crucial to avoid the classic traps that people fall into when creating villains.

Here are five pitfalls to avoid when developing your antagonist, with illustrative examples to help you along the way.

1. Making Them Completely Unsympathetic

You’ve probably heard this one, but it bears repeating: if your villain has no redeeming qualities whatsoever, their journey — and their relationship to the protagonist — won’t be terribly exciting. Readers might be glad to see them get their just desserts, but they’re unlikely to get invested, and won’t remember much from your story beyond its generic “good vs evil” arc.

This doesn’t mean readers must have equal amounts of sympathy for your hero and your villain; it does, however, mean that the latter needs some grounding, realistic traits and goals. Think about their core motivations in your story. Why are they opposed to your protagonist in the first place, and how does that tie into their personality?

A low-stakes example: say you’ve established that your protagonist is a schoolteacher, and their nemesis is a grouchy school principal who thwarts the teacher’s ideas and initiatives at every turn… but why? Maybe the principal has been burned by bureaucracy and is disillusioned with the system; maybe they’re trying to prevent the teacher from getting promoted and leaving the school; maybe they’re jealous of the teacher’s good ideas and work ethic, etc.

Remember, these motivations don’t have to be flattering, but they do have to have to be comprehensible. Even if the reader wouldn’t take the same actions as your antagonist, they should be able to grasp their reasons for doing so — basically, a good antagonist doesn’t require total reader empathy, but they do require some sympathy and understanding.

2. Failing to Consider Their Backstory

In conjunction with that first point, don’t just stop at your antagonist’s immediate motivations re: your protagonist! If you really want to develop a worthy opponent, you must consider their entire backstory: their childhood and formative experiences, their turn to the “dark side” (whatever that means in your story), and other aspects of their life beyond the page.

Indeed, unlike the sympathetic elements to include in your story, your antagonist’s backstory may not be fully revealed to readers. If you’re familiar with the “iceberg theory” of fiction, that’s the technique to employ here; the details you divulge should only be the tip of an “iceberg” of backstory. The rest remains beneath the surface, largely unseen, but adding meaningful subtext to the details you do mention — and ready to be deployed in future books if needed.

Think about one of the most famous villains of all time, Voldemort from Harry Potter. One reason why he’s so effective as a character is because we know just enough about him to see him as a legitimate threat… but plenty about him also remains mysterious and frightening.

Over the course of the books, we learn more about Voldemort’s family trauma, orphaned childhood, and fundamental misconceptions about things like love, power, and immortality. Through this process, we see how his backstory has subtly informed his character all along. And when he and Harry have their final confrontation in Book 7, we’re invested in the outcome partly because we know both characters intimately now, not just Harry alone.

3. Barely Letting Them Interact with Your Protagonist

Speaking of final confrontations, another surprisingly common mistake with antagonists is to not ever let them encounter the protagonist until the very end — if they interact at all!

Some authors might think this creates a sense of mystery and narrative suspense. But while this tactic might work well for a short story, it starts to feel tedious and flat-out strange in a novel. A few times I’ve gotten well past the halfway point in a book and thought: “Okay, but when are these two going to meet?”

One popular novel I read a few years ago (I won’t mention the title) was particularly guilty of this, with chapters that alternated POVs between the protagonist and the antagonist. The villain kept trying to meddle with the hero in roundabout ways, but the hero didn’t really understand what was going on, so it was frustrating to keep going back and forth. The two never metuntil a climactic battle at the end of the book… at which point the story had already lost a lot of steam.

So don’t take this approach to your own villain’s arc. Instead, try doing the opposite — that is, intertwining your protagonist and antagonist’s paths as early as possible. Another novel from a few years ago (which I will name), Vicious by V.E. Schwab, does a brilliant job of this: the two main characters, Victor and Eli, are college roommates and friends before they turn enemies, and their established relationship and history makes their dynamic all the richer.

4. Having Them Do Stereotypical “Villainous” Things

This is another one that seems obvious to avoid, but comes up surprisingly often! It’s unfortunately true that even once you’ve rounded out your antagonist with backstory and strong motivations, you can still find them slipping into stereotypical actions. These include: delivering evil monologues at the protagonist, laughing the quintessential “mua-ha-ha” laugh, shooting a man in Reno just to watch him die, etc.

You may be more susceptible to this issue if you write fantasy, horror, or any sort of “epic” fiction in which the hero and villain have an archetypical relationship. But just because your genre can occasionally get trope-y, doesn’t mean you’re doomed! Really, the best way to combat this pitfall is just to stay aware of it. Try to remain meticulous as you write your villain’s scenes — and when the time comes to edit, do so with fresh eyes and a staunch intolerance for clichés.

Alternatively, depending on what kind of fiction you’re writing, you could try subverting or lampshading certain stereotypes… but you need to have a lot of confidence in your satire in order for this to land! As a result, I’d generally advise to simply steer clear.

5. Creating Multiple Antagonists Who Are Very Similar

Finally, this piece of advice is for those writing a series, particularly if you have the same protagonist from book to book (which, to be fair, not all series have).

Basically, if you remove or kill off a villain in one book, don’t bring back a nearly identical villain in the sequel — not just in terms of looks (though best to avoid that as well!), but in terms of key motivations and personality. It might feel natural to have similar antagonists — especially if your protagonist is defined by a worldview that their enemies always oppose — but remember that the majority of a villain’s character details should be unique to them.

This is what makes villains in media like the Batman comics so vivid and memorable: though Batman’s enemies are united in their criminality, they all have different motives for their crimes, different modi operandi, and certainly different personalities (just think about the Joker vs the Penguin, for example). If you happen to be writing a series of books or even stories, you should strive for the same degree of differentiation.

With that, I do wish you the best of luck in creating your own iconic antagonists. If you avoid these all-too-common pitfalls, you’ll be well on your way to character dynamic success!

Savannah Cordova is a writer with Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers, and marketers. In her spare time, Savannah enjoys reading contemporary fiction and writing short stories. You can read more of her professional work on Litreactor and the Reedsy blog.

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The post Five Pitfalls to Avoid When Developing Your Antagonist appeared first on WRITERS HELPING WRITERS®.

Raptors are some of the most successful predators on the planet. From owls, eagles, and vultures to hawks, falcons, and other birds of prey, raptors are skilled hunters with incredible senses, like binocular vision, that help them detect prey at far distances. The secretary bird even carries mouthfuls of water back to the nest for her young — one of the few avian species to quench a chicks’ thirst.

If a raptor was a character in a book, they seem like the perfect villain on the surface. After all, they kill and consume adorable critters like chipmunks, squirrels, mice, monkeys, birds, fish, and old or injured animals. As readers, we’d fear the moment their shadow darkened the soil.

What we may not consider right away is how tender raptors are with their young, or that they only take what they need to feed their family and keep the landscape free of disease from rotting meat and sick animals, or what majestic fliers they are. Raptors have many awe-inspiring abilities.

Take, for example, the Andean condor, the largest flying land bird in the western hemisphere. In the highest peaks of the majestic Andes, the largest raptor in the world hovers high in the sky in search of its next meal — a carcass or old/injured animal to hunt. Andean condors have a wingspan of over ten feet. If one flew sideways through an average living room with eight-foot ceilings, the wings would drag on the floor!

How could we turn a massive predator like the Andean condor into a hero? It’s difficult to offset their hunting abilities and diet with the innocence of their prey, but not impossible.

A layered characterization holds the key. It doesn’t matter who your protagonist is or what they do. With proper characterization, a raptor or killer can play any role.

Go Deeper than the Three Dimensions of Character

1^st dimension: The face they show to the world; a public persona
2^nd dimension: The person they are at home and with close friends
3^rd dimension: Their true character. If a fire broke out in a cinema, would they help others get out safely or elbow their way through the crowd?

A raptor-type character needs layers, each one peeled little by little over time to reveal the full picture of who they are and what they stand for. We also need to justify their actions so readers can root for them.

A perfect example is Dexter Morgan, vigilante serial killer and forensic blood spatter analyst for Miami Dade Police. Why did the world fall in love with Dexter?

What makes Dexter so fascinatingly different is that he lives by a code when choosing his victims – they must, without a doubt, be murderers likely to strike again. But he didn’t always have this code. In the beginning, he killed to satisfy the sick impulses from his “dark passenger.” If it weren’t for Dexter’s adoptive father and police officer, Harry Morgan, who educated his son to control his need to kill and established tight guidelines for Dexter to follow (the code), he would have been the villain.

Readers accept his “dark passenger” because he’s ridding the world of other serial killers who could harm innocent people in the community. And that’s enough justification for us to root for him. We’re willing to overlook the fact that he revels in each kill and keeps trophies. We even join him in celebrating his murders — and never want him caught.

Jeffrey Deaver couldn’t have pulled this off if he showed all Dexter’s sides at the very beginning. It worked because he showed us each layer to the character of Dexter Morgan over time.

The Characterization for Vigilante Killers Cannot be Rushed

When I created this type of character, he started as the villain for two and half novels while I dropped hints and pieces of truth like breadcrumbs. It wasn’t until halfway through book four that the full picture of who he really was and what motivated him became evident.

So, go ahead and craft a raptor as the protagonist of your story (as an antihero). When characters are richly detailed psychologically, readers connect to them. Perhaps a part of us wishes we could enact justice like they do.

If crafted with forethought and understanding, your raptor may become your most memorable character to date. Just go slow and really think about how much of their mind to reveal and when. Who knows? You may create a protagonist readers will analyze for years to come!

*It’s unfair to draw a parallel between raptors and vigilante killers, but the idea came to me while watching a nature documentary. Make no mistake, I adore raptors.

SUE COLETTA - Resident Writing Coach

Sue Coletta is an award-winning crime writer and active member of Mystery Writers of America, Sisters in Crime, and International Thriller Writers. Feedspot and Expertido.org named her Murder Blog “Best 100 Crime Blogs on the Net.” She also blogs at the Kill Zone (Writer’s Digest “101 Best Websites for Writers”). Her backlist includes psychological thrillers, the Mayhem Series (books 1-3), Grafton County Series, and true crime/narrative nonfiction. Now, she exclusively writes eco-thrillers, Mayhem Series (books 4-7 and continuing). Sue’s appeared on the Emmy award-winning true crime series, Storm of Suspicion, and three episodes of A Time to Kill on Investigation Discovery. Find out more about our RWC team here and connect with Sue below or at www.suecoletta.com.

The post Could a Raptor Play the Protagonist Role? appeared first on WRITERS HELPING WRITERS®.

Conflict is a powerful tool for storytellers, allowing us to place roadblocks, challenges, adversaries and more in a character’s way so the road to their goal is much more difficult. Deployed well, conflict creates tension and intensity for reader, capturing their attention for the length of the book.

So what does deployed well mean?

For conflict to have a strong foundation, we need to focus on three things. First, readers need to feel connected to a character for them to care when something bad happens to them. For example, if a car hits a dog-kicking, old-lady-scamming protagonist and breaks both his legs, will your audience be upset? Not at all…in fact they may actually cheer. But if the protagonist is a single mother of three who scraped and saved to go to night school and create a better life for her family, seeing such a terrible event happen to them will really rip your readers up. So, building flesh-and-blood characters readers will connect to is crucial for scoring a strong conflict hit.

The second thing conflict must do is present a character with a problem that’s not easy to resolve. A danger or threat that can be avoided if the character simply does one thing will feel like a cop-out to readers (unless you’re purposefully luring the character into a trap so it leads to spectacular, unexpected fallout).

The third component of well-written conflict is that it will be original in some way, giving readers something they’ve not seen before. And this is where some writers trip, especially if they’re working with a conflict scenario found in many stories, or it’s common within a genre. Romance readers will have experienced plenty of stories where a romantic competitor enters the scene, Fantasy readers know that at some point, an adventurer will get injured, and anyone who reads superhero stories has seen more than a few characters discovering they have unwanted powers.

The thing is, readers expect to see these conflicts, so we need to include them. But we shouldn’t copy what others have done. Instead, we should find a way to make the situations fresh…and hopefully more difficult. Here are some ideas:

Make the Outcome Uncertain

To keep readers from easily predicting the result of a conflict scenario, sow some doubt—a.k.a., don’t go easy on your protagonist. Put them at a disadvantage—or, if you’re feeling evil, give them an easy win that isn’t a true victory. Maybe a character with friends in high places gets a big promotion, only she doesn’t realize her “friends” are setting her up as a scapegoat for their criminal behavior. Winning can also trigger unforeseen consequences. If your character doesn’t pay now, make her pay later.

Withhold Something the Character Needs

When a character has everything—information, financial backing, a mentor, the support of others—it’s an easier skate to the finish line, and what’s the fun in that? Think about what your character needs most to succeed, and take it from her. If she needs medicine, put it in a glass vial that, at a critical point, will shatter. When she needs a map to navigate, let it be ruined by a dunk in the river. Knowledge, a way to communicate, a weapon…characters who are forced to act when they don’t have what they need often screw up, leading to more conflict.

Make the Stakes Personal

Every story should have high stakes, where something is at risk if the character fails. But when the stakes are personal, winning becomes more crucial because of what they could lose. Get to know your character and the people, places, and things they hold dear. Then endanger them: a child’s life, the character’s job, their reputation, or their marriage. Most characters will walk through fire to protect the people and things they cherish.

Consider a No-Win Situation

The most heart-wrenching times for your character are when they have to make a decision in which someone will pay regardless of their choice. These story moments take courage because the character must decide between two equally bad outcomes. Do they save their daughter if doing so means abandoning their son? Do they stay and risk capture, or run and risk death by exposure? No-win scenarios create obvious tension for characters but also for readers, who recognize an impossible situation when they see it and wonder what choice will be made.

Keep Your Character Moving

Did you know that if sharks stop swimming, they’ll die? This is a lesson we can apply to storytelling because when a character settles down for too long, the tension flatlines. So, keep them moving. If they find a haven, fill it with hidden dangers that compel them to leave. If a romantic relationship is becoming routine, introduce a disruptor—a secret being exposed, a hopeful ex-lover showing up, or a complication that forces a physical separation.

This goes for inner movement, too. If the character isn’t moving forward and resolving their internal conflict, create a crisis that jeopardizes everything they’ve worked for. Remind them that they need to keep evolving to get what they want, even if this means facing hard truths or examining old wounds.

Shake Up the Team

If your character is relying on others, find a way to introduce dysfunction and friction. Disagreements, misunderstandings, egos, rivalries, or a sense of entitlement can shake the foundation of a relationship, create a power struggle, and leave your character without their much-needed backup.

Tighten the Timeline

There’s nothing like a ticking clock to pile on the pressure, so think about how you can shorten a window of opportunity, move up a deadline, force the character to wait, or give them an ultimatum. Characters who rush can get sloppy and make mistakes, compounding the conflict.

Pull the Trigger

All characters carry some baggage from the past. If they’re navigating a change arc, they’ll have an unresolved wound, and chances are, they’ve buried it deep. The problem is, for them to move forward, they need to deal with whatever is holding them back. A well-placed trigger can cause that wound to resurface.

Maybe your character Tamara has been avoiding her cousin who captained the boat the day her sister drowned. But now she must work side by side with him to save their family’s business. Or your character must perform a wellness check on someone who lives in the building where her abusive parents raised her. Exposing your character to fears and painful memories can awaken them to the realization that the past is holding them prisoner.

Include a Sacrifice

A character facing a challenge that’s beyond her must make some hard choices if she wants to avoid losing everything. Maybe she must abandon one goal to put more energy into another, or give up on a passion to stand by a friend. Sacrifices are meaningful and will cause readers to care, so don’t be afraid to use them.

Turn to Your Genre

Every genre will have specific opportunities to ramp up conflict. Does your character live in a historical time when certain illnesses were prevalent, or their rights were restricted because of their race, gender, or religion? Is there a specific technology that is hampering your character’s ability to move undetected in a future world? Pull organic conflict from the very bedrock of your genre by considering the character’s reality and the challenges they might face.

Don’t Make Violence Your Go-To

As you seek ways to power up conflict, it can be tempting to use violence to hammer home a threat. Sometimes this is warranted and fits the scenario, but other times it’s used as an easy way out. Before going to this extreme, pause to see what’s best for the story. If you decide to use it, don’t make it the only tool in your bag of tricks. Writers should also think twice about using gratuitous violence to characterize, especially in situations that directly target women or children.

Need more ideas for story conflict? Check out the 225 scenarios covered in the GOLD and SILVER editions of The Conflict Thesaurus: A Writer’s Guide to Obstacles, Adversaries, and Inner Conflict.

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post How to Generate Powerful Story Conflict appeared first on WRITERS HELPING WRITERS®.

No one in the real world is perfect, and so characters shouldn’t be either. To seem as real as you or me, they should have flaws and strengths, and these sides of their personality should line up with who they are, how they were raised, and reflect the experiences they’ve had to date, good and bad.

While we develop our characters, however, we need to remember that flaws come with a tipping point. If we write someone with an overabundance of negative traits and behaviors that are a turnoff, the character will slide into unlikable territory. And yes, if the goal is to make a villain, antagonist, or other character loathsome, that’s fine–mission accomplished. But if we want readers to be on their side, too much surliness, negativity, secretiveness, or propensity for overblown reactions can cause a reader to disconnect.

Like a joke taken too far, it’s hard to claw an audience back once they’ve formed negative judgments, which is why we want to be careful and deliberate when showing our character’s negative side. Antiheroes tend to wear flaws more openly and can be semi-antagonistic as they battle the world’s constraints, so this line of likability is something to pay close attention to if we want readers to ultimately side with them. Here are some tips to help you.

How to Write Flawed Characters
& Not Turn Readers Off

Show A Glimmer: no matter how impatient, uptight, or spoiled your character is, hint there’s more beneath the surface. A small action or internal observation can show the character in a positive light, especially when delivered in their first scene (frequently referred to as a Save the Cat moment.) It can be a positive quality, like a sense of humor, or a simple act that shows something redeeming about the character.

Imagine a man yelling at the old ladies crowding the hallway outside his apartment door as they pick up their friend Mabel for bingo, and then seeing him swear and fume at the chuggy elevator for making him late. Not the nicest guy, is he? But when Mr. Suit and Tie gets to his car outside, he stops to dig out a Ziploc bag of cat food and carefully roll down the edges into a makeshift bowl.

What? Here the guy seemed like an impatient jerk, but we discover part of his morning routine is to feed the local stray cat! Maybe he isn’t so bad after all. (Talk about a literal interpretation of “saving the cat.”)

Use POV Narrative for Insight: characters are flawed for a reason, namely negative experiences (wounds) which create flaws as an “emotional countermeasure.” Imagine a hero who stutters, and he was teased about it growing up. Even his parents encouraged him to “be seen and not heard” when they hosted parties and special events. Because of the emotional trauma (shame and anger) at being treated badly, he’s now uncommunicative and unfriendly as an adult. This type of backstory can be dribbled into narrative with care, as long as it’s active, has bearing on the current action, and is brief as to not slow the pace.

Create Big Obstacles: the goal is to create empathy as soon as possible, and one of the ways to do that is to show what the character is up against. If your character has a rough road ahead, the reader will make allowances for behavior, provide they don’t wallow and whine overmuch. After all, it isn’t hardship that creates empathy…it’s how a character behaves despite their hardship as that gives readers a window into who they really are.

Form a Balance: No character is all good or all bad. Give them a mix of positive traits (attributes) and negative traits (flaws) so they feel realistic, and ensure their negative traits contain a learning curve. For example, their negative traits may be good at keeping people and uncomfortable situations at a distance in the past, but in your story, they won’t help your character get what they want. Your character will have to see this for themselves, and it’ll only happen when that flawed behavior and way of thinking leads to poor judgment, mistakes, relationship friction, and other problems, the poor sap.

Eventually the character will see that they need to change up their behavioral playlist if they want to succeed, and this means letting go of the bad and embracing the good, opening their mind to a new way of thinking, behaving, and being. This is where their positives get to shine, so lay the foundation with qualities that may start in the background, but come forward and show them to be rounded, likable, and unique.

Of Special Concern:
Your Story’s Baddies

It’s easy to give an antagonist flaws because your intent is to make readers dislike them, but even here, caution is needed. Hopelessly flawed antagonists make shallow characters and unworthy opponents, so we want to also give them strengths (like intelligence, meticulousness, dedication, and discipline, for example) to make them formidable and hard to beat.

This forces your protagonist to work their hardest, and in a match up, nothing is guaranteed. Being uncertain about the outcome of these story moments is what will hold the reader’s attention to the very end.

To build balanced, unique characters and find traits, positive and negative, that will make sense for them, take a look at the Positive Trait & Negative Trait Thesaurus Writing Guides. We created these to make character building easier for you.

Happy writing!

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Writing Flawed Characters Who Don’t Turn Readers Off appeared first on WRITERS HELPING WRITERS®.

In story terms, a villain is a person, entity, or force who is cruel, evil, or malicious enough to wish the protagonist harm. Rather than simply blocking a goal or interfering with the hero’s plan, a villain causes suffering, making it vital for them to be conquered by the protagonist. Clarice must find and defeat Buffalo Bill if she wants to rise above her past and become a great FBI agent (The Silence of the Lambs); Chief Brody must kill the man-eating shark to preserve his town (Jaws). 

Regardless of the form your villain takes, there are certain qualities that will make them formidable and credible—qualities and connections they share with the protagonist. Let’s explore these qualifications through a case study of Dr. Lawrence Myrick, played by Gene Hackman in the movie Extreme Measures. 

Villains, Like Heroes, Live By A Moral Code 

It’s been said that the best villains don’t know they’re villains; they think they’re the hero of the story. And this is true because a well-crafted baddie has his own moral code. Compared to the protagonist’s, it’s twisted and corrupt, but it still provides guardrails that guide him through the story. 

Dr. Myrick is a renowned and brilliant neurosurgeon who has dedicated his life’s work to curing paralysis. It’s a noble cause that he believes in more than anything—not so much for himself but for all the paralyzed people in the world. This cause is so important that when he develops a treatment, he can’t wait decades for it to crawl through the testing process and eventually be approved. So he bypasses the animal testing phase and goes right to human trials. It’s kind of hard to find healthy subjects who are willing to take such a risk, so he kidnaps homeless people and confines them to his secret medical facility, then severs their spinal cords so he can test his treatment on them. 

To the rest of the world, this is unconscionable. But to Myrick, the end justifies the means. He’s perfectly okay stealing people, taking away their freedom and mobility, and subjecting them to countless medical cruelties. And if they reach a point of no longer being useful, he’s fine doing away with them because they’re people no one will miss. He actually views them as heroes, sacrificing themselves for the greater good. His morals are deranged, but they’re absolute, guiding his choices and actions. And when you know his code, while you don’t agree with it, you at least understand what’s driving him, and his actions make sense. 

When you’re planning your villain, explore their beliefs about right and wrong. Figure out their worldview and ideals. Specifically, see how the villain’s beliefs differ from the protagonist’s. This will show you the framework the villain is willing to work within, steer the conflict they generate, and provide a stark contrast to the hero. 

They Have A Story Goal, Too 

Like the hero, the villain has an overall objective, and they’re willing to do anything within their moral code to achieve it. When their goal is diametrically opposed to the hero’s, the two become enemies in a situation where only one can succeed. 

We know Myrick’s goal: to cure paralysis. And things are progressing nicely until an ER doctor in his hospital discovers homeless patients disappearing from the facility. Dr. Lathan starts nosing around, and when he realizes someone is up to no good, it becomes his mission to stop them. So the two are pitted against each other. If one succeeds, the other must fail. To quote Highlander: there can only be one. 

As the author who has spirited the villain out of your own (dare we say twisted?) imagination, you need to know their goal. It should be as clear-cut and obvious as the hero’s objective. Does it put them in opposition to the protagonist? Ideally, both characters’ goals should block each other from getting what they want and need. 

Villains Are Well-Rounded 

Because villains are typically evil, it’s easy to fill them up with flaws and forget the positive traits. But good guys aren’t all good and bad guys aren’t all bad, and characters written this way have as much substance as the flimsy cardboard they’re made of. Myrick is cruel, unfeeling, and devious. But he’s also intelligent, generous, and absolutely dedicated to curing a devastating malady that afflicts the lives of many. 

Positive traits add authenticity for the villain while making them intimidating and harder to defeat. An added bonus is when their strength counters the hero’s. 

The villain of Watership Down is General Woundwort, a nasty rabbit whose positive attributes are brute strength and sheer force of will, making him more man than animal. In contrast, hero Hazel embodies what it means to be a rabbit. He’s swift and clever. He knows who he is and embraces what makes him him. In the end, Hazel and his rabbits overcome a seemingly undefeatable enemy by being true to their nature. 

When your villain is conceived and begins to grow in the amniotic fluid of your imagination, be sure to give him some positive traits along with the negative ones. Not only will you make him an enemy worthy of your hero, he’ll also be one readers will remember. 

They Have A Backstory
(And You Know What It Is) 

Authors know how important it is to dig into their protagonist’s backstory and have a strong grasp of how it has impacted that character. Yet one of the biggest mistakes we make with villains is not giving them their own origin story. A character who is evil with no real reason behind their actions or motivations isn’t realistic, making them stereotypical and a bit…meh. 

To avoid this trap, know your villain’s beginnings. Why are they the way they are? What trauma, genetics, or negative influencers have molded them into their current state? Why are they pursuing their goal—what basic human need is lacking that achieving the goal will satisfy? The planning and research for this kind of character is significant, but it will pay off in the form of a memorable and one-of-a-kind villain who will give your hero a run for his money and intrigue readers. 

They Share A Connection With The Protagonist 

In real life, we have many adversaries. Some of them are distant—the offensive driver on the highway or that self-serving, flip-flopping politician you foolishly voted for. Those adversaries can create problems for us, but the ones that do the most damage—the ones we find hardest to confront—are those we share a connection with. Parents, siblings, exes, neighbors we see every day, competitors we both admire and envy, people we don’t like who are similar to us in some way…conflicts with these people are complicated because of the emotions they stir up. 

The same is true for our protagonists. The most meaningful clashes will be with the people they know. Use this to your advantage. Bring the villain in close and make things personal by engineering a connection between the two characters. Here are a few options for you to work with. 

• Give Them a Shared History. The more history the two have, the more emotion will be involved. Guilt, rage, grief, fear, jealousy, regret, desire—strong feelings like these will add sparks to their interactions. They’ll cloud the protagonist’s judgment and increase the chances their villain will gain an edge. 
• Make Them Reflections of Each Other. What happens when the protagonist sees him or herself in the villain? A seed of empathy forms. The hero feels a connection with the person they have to destroy, which complicates things immensely. Personality traits, flaws, vulnerabilities, wounding events, needs and desires—all of these (and more) can be used to forge a bond that will add complexity and depth to this important relationship. 
• Give Them a Shared Goal. When your hero and your villain are pursuing the same objective, it accomplishes a number of good things. First, it ensures that only one of them can be the victor, pitting them against each other. But they’re also more likely to understand one another. They’ll have different reasons and methods of chasing the dream, but the shared goal can create an emotional connection. 

As you can see, a lot goes into creating an enemy that is realistic, complete, and worthy of holding the title of villain in your story. When you’re drawing this character, give them the same thought and effort you’d put into your hero, and you’ll end up with a villain that will enhance your story, intrigue readers, and give the hero a run for their money. 

Want to take your
conflict further? 

The Conflict Thesaurus: A Writer’s Guide to Obstacles, Adversaries, and Inner Struggles (Volume 1 & Volume 2) explores a whopping 225 conflict scenarios that force your character to navigate relationship issues, power struggles, lost advantages, dangers and threats, moral dilemmas, failures and mistakes, and much more!

BECCA PUGLISI

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers—a powerhouse online library created to help writers elevate their storytelling.

The post Five Commonalities Between Heroes and Villains appeared first on WRITERS HELPING WRITERS®.

What are writers chronically short on? Time.

There never seems to be enough of it as we try to get the next book written, research our publishing options, keep up with marketing, work on our platform, etc., and that doesn’t even factor in what’s happening in other areas of our life. And as we juggle, the one thing that can help us succeed more than anything else is often neglected: education to help us improve our storytelling skills.

Introducing Mini-Lessons

You guys know Becca and I have a lot to say about description and how showing the right things in the right way means readers are pulled in and will care deeply about characters and what’s happening in their lives. We’ve written books on many description elements and have even more of these in our THESAURUS database at One Stop for Writers.

This summer, Becca and I have recorded a mini lesson for each of our thesauruses, helping you better understand that story element, what its superpower is in your story, and how to activate that detail through description.

Each video takes you through a thesaurus in the One Stop for Writers database, but you don’t need to be a subscriber to benefit from these lessons or use our thesauruses (although they are very helpful for brainstorming). But if you are someone who uses them, this will broaden your understanding so you get even more value from each brainstorming list.

Bite-sized learning is a perfect match for busy writers

Life can be hectic, making it hard to carve out big blocks of time for learning. With these videos, you need about 5 (ish) minutes. Totally doable! Whether you want to learn how to describe a character’s emotions, activate the power of your scene’s setting, or understand character motivation better so plotting becomes easier, a helpful mini-lesson is waiting for you.

Here’s the playlist, or choose the topic you’d like to know more about below.

Happy writing and learning!

Grow Your Skills with Becca & Angela

How to Describe a Character’s Appearance

How Emotional Trauma Affects Characters & Their Arc

How to Use a Character’s Fears in Storytelling

How to Create a Character Readers Will Love

How to Give a Character Flaws that Will Hold Them Back

How the Right Setting Details Make a Scene More Powerful

How to Create a Memorable Character Using a Talent or Skill

How to Show What Your Character Is Feeling

How to Use Conflict to Power up Your Story

How to Write Your Theme and Use Effective Symbolism in Fiction

How to Use the Weather to Build Mood and Generate Conflict

How to Find the Right Job for a Character

How to Bring Readers Into a Story Using Textures

How to Create Vivid Description Using Colors and Patterns

How Describing an Object’s Shape the Right Way Strengthens the Story

How to Build Strong Characters & Arcs

How to Amplify Your Character’s Emotional State

Need more help as you plan, write, and revise? Join us at One Stop!

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Improve Your Storytelling in 5 Minutes appeared first on WRITERS HELPING WRITERS®.

Is there anything better than well-written conflict? The vengeful enemy, sharks circling a sinking boat, a carefully guarded secret getting out in the open.

Readers, fearful for the characters they love, grip the book tighter when conflict is close.

What will happen? Will everything be okay?

The more dire the threat, the more uncertain they feel.

Conflict holds power in storytelling because it touches everything: pacing, plot, stakes, characterization, character arc, emotion, you name it. Internal or external, subtle or obvious, readers invested in the book will find themselves in a near-constant state of tension as they worry about the character’s ability to dodge story knives.

One of the biggest sources of conflict comes in the form of an adversary—someone (or something) that has goals, needs, desire, or a purpose that clashes with the protagonist’s own. Once their paths cross, BOOM. Friction, tension, conflict! A battle of wills, might, and minds ensues until one is victorious.

Adversaries generate a lot of conflict, meaning it’s important to know their motivations and intentions. If they have a big role, we should brainstorm them just as we would the protagonist (here’s a tool to help with that) to understand what’s driving them. But are all adversaries the same? Not at all. Depending on what you need, you have a variety of adversarial players to choose from. Here are some considerations for each.

Competitor

This foe is someone who has the same goal as the protagonist and will compete for it. Whether your character is up against a peer for a scholarship, a job, an award, or something else, make sure their competitor has abilities, skills, resources, or other assets that will make the outcome uncertain.

Rival

Like a competitor, this opponent wants the same thing as your protagonist. What’s different though is that the rival is also invested in defeating the protagonist. The victory is personal because there’s some sort of history between the two.

Consider the ongoing friction between Johnny Lawrence and Daniel LaRusso (and, later, their competing dojos) in the TV series, Cobra Kai. Johnny and Daniel took very different paths since their initial battle in The Karate Kid. Daniel became a wealthy and successful businessman while Johnny worked handyman jobs and flirted with alcoholism as an escape from his personal failings, losses, and abuse trauma. Old wounds are reopened when Johnny reopens Cobra Kai to empower youths, and Johnny’s son trains with Daniel to get back at his dad. Further complications abound as their teenage kids start dating and Johnny fights to become someone better while Daniel holds firm to old biases. The result of all this friction? A boatload of rivalry-fueled conflict.

Antagonist

This is often a catchall term for the main adversary. If the antagonist is a person, they will have a mission or agenda that counters the protagonist’s and most likely are prominent enough to have a character arc of their own.

Antagonist Force

The foe standing between your character and their goal doesn’t need to be a person. Depending on the story, the antagonistic force could be an element of nature (the brutal polar vortex in The Day after Tomorrow), an animal (the wolf pack hunting plane crash survivors in The Grey), or even a type of technology (The Terminator).

Villain

A villain is different than an antagonist in the sense that there is an element of evil or a specific intent to hurt others. Something has skewed their worldview and made them into who they are—a person whose moral code runs on a completely different track. Villains have no qualms about mowing down anyone who gets in the way of their goal.

Enemy

This type of foe is a threat to your protagonist and those they’re aligned with. An enemy can be a person, collective, family, or even a concept that threatens to do great damage. If the enemy is someone your character once had an amicable relationship with, the moment the two choose opposition, previous attachments are cast aside.

Invader

Some people are all about disrupting the status quo; they want what others have—be it land, power, resources, or lives—and are there to take it. Invaders are the aliens in Independence Day, the death-eaters laying siege to Hogwarts, and the highwaymen from Alas, Babylon.

Frenemy

This adversary is someone your character may align with at times, but a competition exists that requires an emotional shield to always be in place. Frenemy relationships are often between peers (co-workers, members of the same social clique, etc.), and peace is kept if conditions remain stable. As soon as one character’s position is elevated (they’re given more attention, an advantage, offered an opportunity, etc.), the competition is on. Frenemy relationships are prone to jealousy and so can devolve quickly.

Hater

This character is someone who sees your protagonist as being undeserving of the good that comes to them. In general, haters struggle with the success of others, possibly due to envy, jealousy, and feelings of personal inadequacy. Haters are disruptors and saboteurs who look for opportunities to cause problems and “take someone down a peg.”

Bully

This opponent gains power by controlling others. Bullies can exist in any environment, from the mean-spirited boss who enjoys pushing your character around, to the adult sibling that never lost his adrenaline rush at sliding the brotherly (or sisterly) knife in. The closer a bully is to your character, the more they can exploit their weaknesses.

Aggressor

Some who struggle to manage their feelings have a go-to response to discomfort or fear: aggression. When a threat is perceived, the aggressor responds impulsively, using intimidation, verbal and emotional abuse, or violence to neutralize the threat. Aggressors are volatile and dangerous because once triggered, they don’t back down.

Meddler

Chances are, some people around your character have strong opinions and aren’t afraid to share them. But if they consistently try to insert themselves or interfere, they become meddlers. This type is somewhat passive-aggressive, offering unsolicited feedback and intrusive advice—or, worse, actively interfere to achieve a specific end. Meddlers are those the character has an emotional attachment to, so rather than directly calling them out, your character may put up with it until they eventually explode.

Nemesis

Once in a great while an adversary comes along who is powerful, relentless, and enduring. This is a foe that, to date, has not been bested and so their very presence is a thorn your protagonist obsesses over but can’t remove. Superman has Lex Luther, Harry Potter has Voldemort. Both parties long for the destruction or removal of the other but have been unable to bring that about.

Challenger

Sometimes your character is at the top of the food chain—happy, secure, and in control. They might be the director of an important area of the government, have the most prosperous grocery store in town, or they’re dating the prom queen. In other words, life is good. Enter the challenger—someone in a position to take what your character has.

Supernatural Force

Inhuman adversaries present a specific challenge because they usually have powers and abilities your protagonist does not. This makes the matchup uneven and will require your character to rethink what they know and believe to find a way to overcome this threat.

Adversarial conflict can be direct or indirect, but always requires a reason for existing.

Choosing an antagonist just because your character “needs someone to beat” will lead to hollow conflict, so develop each character to unearth their why instead. Who has something to prove and why? Is this about payback or something else? Is a belief or identity on the line? Adversary or protagonist, when readers can clearly line up the character’s motivation to their goals and needs, it gives credibility to their actions, choices, and behavior.

Need more ideas?

You’ll find problems, obstacles, ticking clocks, temptations, moral dilemmas and more in The Conflict Thesaurus: A Writer’s Guide to Obstacles, Adversaries, and Inner Struggles Volume 1 and Volume 2.

Let the conflict brainstorming begin!

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Adversarial Conflict: Who Is Making Trouble In Your Story? appeared first on WRITERS HELPING WRITERS®.

I’m talking about using archetypes and tropes — characters who play a specific role in a story or who have a blend of characteristics that make them instantly recognizable: the Rebel, the Bully, the Hot Billionaire, the Chosen One…you get the idea. Readers recognize these types of characters and may even expect to find them in certain stories.

So, our job is done, right? Pick an archetype or trope, put some clothes on them and shove them into the story. No, ‘fraid not. Character types and tropes can provide a skeleton, but to avoid a stock character or overdone cliché, they must stand on their own and mesmerize by being unique.

And that’s where this thesaurus comes in.

Characters need layers, full stop, so trope or not, we want to dig for what makes them an individual, give them a soul, and make adaptations that will challenge a reader’s expectations.

What this thesaurus will cover:

A Trope or Type Description and Fictional Examples. Before we can think about how to adapt a trope, we need to know more about who they are. This overview and examples will help you know if this baseline character is right for your story.

Common Strengths and Weaknesses. A character who aligns with a trope or type tends to have certain positive and negative traits, so we list those as a starting point. But don’t be afraid to branch out – personality is a great place to break the mold.

Associated Actions, Behaviors, and Tendencies. Because tropes have a mix of traits, qualities, and a worldview baked in, you’ll need to know how to write their actions, choices, priorities, and certain tendencies…so you can then decide how to break with tradition.

Situations that Will Challenge Them. Every character faces challenges in a story that are extra difficult because of who they are, what they believe, fear, and need. A trope or type character is no different. We’ll cue up ideas to get your brains whizzing on what this can look like in your story.

Twist This Type With a Character Who… is where we give you ideas on how to break expectations, so you deliver someone who has fresh angles, and isn’t a typical stand-in.

Clichés to Avoid is where we alert you to some of the overdone versions of a type or trope so you’re aware of them as you develop your characters and plot your story.

Readers are hardwired to look for patterns and familiarity

Which is why we see tropes used so often, but good storytellers know that in 99% of cases, using one is the starting point only. We want rounded and dynamic characters, not flat ones. So, unless you require a stock character to fill a background role, any character who starts as a trope should be as carefully developed as those who did not. Readers want–and deserve!–fresh characters, so dig into those inner layers and bring forth someone unique.

Join us each Saturday for a new entry, and if there’s a character type or trope you’d like us to cover, add it in the comments here, and we’ll add it to the list of potentials!

Here are all the types and tropes we’ve covered so far.

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Introducing…The Character Type & Trope Thesaurus! appeared first on WRITERS HELPING WRITERS®.

As readers, what inspires empathy for the hero and makes us root for him? Their flaws? Admirable qualities? Hopeless circumstances? Yes, to all of the above. But none of these elements would be effective without a worthy villain to complicate matters.

This is the real purpose of the antagonist: to make things unlivable for the hero and ramp up reader empathy. I mean, would we care so much about Snow White without the Queen? Maximus without Commodus? The Smurfs without Gargamel? Villains are important because they’re the ones who determine how bad things will get for the hero. It is fear of this antagonist that inspires empathy in readers, putting them firmly in the hero’s cheering section and ensuring they will keep turning pages. So it’s crucial you create a villain who is just as unique, interesting, and believable as the main character.

One way to do this is by including the Evil-By-Nature Villain. These are the antagonists who don’t have a backstory. They do what they do because it’s in their blood or their programming. The shark in Jaws. Ellen Ripley’s alien. The Terminator. Such a ruthless and seemingly unstoppable villain puts the hero in extreme danger because the enemy can’t be reasoned with or talked out of its determination to destroy. Villains like these, with little or no backstory, can be terrifying in their own right.

But there absolutely are worse bad guys. While a twenty-five foot shark might keep me out of the water, it won’t keep me up at night. The villains who accomplish this are the ones who feel real. They have morals—albeit skewed—and live by them. Though a nightmare now, they weren’t born that way; life, past events, and the evil of others have made them the villains they are today. They’re terrifying because they were once normal—just like me.

It is this kind of antagonist we should strive to create: moral villain who strictly adhere to their twisted moral codes. Here are some tips on how to bring them to life:

Know the Villain’s Backstory

We spend a lot of time digging into the hero’s history, but what if we dedicated even half as much energy researching our villain? Who were their caregivers? What were they like in the past? What happened that changed them? Who was kind to them? Who was cruel? Every villain has a backstory that should explain why they are the way they are today. Dredge it up and create a profile. Then dole out the important bits to readers so they can get a glimpse of who the villain used to be and how they became a monster.

Tip: The free Reverse Backstory Tool can help you achieve this!

Know the Villain’s Moral Code

We don’t tend to think of villains as moral individuals, but they usually are. They just live according to a different set of values than the rest of society. 

Morals have to do with our beliefs about right and wrong. To make your villain truly ominous, give them a reason for doing what they do. Make her believe there is value in their choices. For example, through her abusive past and twisted religious beliefs, Margaret White (Carrie) finds it acceptable to verbally and physically abuse her daughter. Anton Chigurh, the heartless villain from No Country for Old Men, adheres to a moral code that isn’t explained; the audience doesn’t know why he chooses to let some people live and others die, but whatever his reasons, he believes firmly in them and acts accordingly.

It’s one thing for a character to engage in reprehensible behavior. An element of creepiness is added when they defend that behavior as being upright and acceptable. To pull this off, you need to know your villain’s moral code.

Know the Villain’s Boundaries

Morality isn’t just about what’s right; it also includes a belief that certain ideas are inherently wrong. Are there things your villain won’t do, lines they won’t cross? Why? Show their human side and you’ll make them more interesting. You might even manage to create some reader empathy, which is always a good thing.

Give the Villain Someone to Care About

Love is a moral concept—the idea that a person cares more for someone else than they do for themselves. Show that your villain is capable of caring, and you’ll add a layer of depth to their character. 

On the TV show The Blacklist, serial criminal Raymond Reddington seems to have no boundaries. As long as it suits his purposes, he’ll sell out anybody—except FBI Agent Elizabeth Keen. This obsessive attachment not only gives him a human side, but it’s intriguing to the audience, who wants to know why he cares for her when he’s so ruthless in every other area of life.

No one’s going to cheer for a hero whose adversary is superficial or unrealistic. Turn your villain into a truly horrific creature by giving them a moral code to live by. Unearth their backstory and show readers that, at one point, they were human. It’s a good reminder that we’re all just one bad experience away from becoming monsters ourselves.

BECCA PUGLISI

Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and its sequels. Her books are available in five languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers—a powerhouse online library created to help writers elevate their storytelling.

The post Creating a Moral Villain appeared first on WRITERS HELPING WRITERS®.

What now? you say. How is that possible? He (or she) is the baddie, after all!

Indeed. And we know it. But just like a protagonist, the antagonist can have something special about them too. It’s not a hollow quirk, catch-phrase, or great sense of style that draws us in. No, it’s something deeper, something attached to their identity or life experience. We see this part of them and relate to it because it reminds us of something we’ve seen or experienced in our own real-world journey.

Is relatability only for protagonists?

A lot of airtime is devoted to building a relatable protagonist because it makes the character accessible to readers in a meaningful way. Relatability is a rope that ties the two together – in some significant way, readers see the hero or heroine is like them. Maybe they’ve both felt the same thing, been in the same situation, experienced the same heartache or sting of failure. This common ground helps a bond of understanding and empathy to form, and the reader becomes invested in what happens to the character. They root for the protagonist and care what happens to them.

We don’t see as much written on the subject of relatability when it comes to the antagonist or villain because writers are supposed to nudge the reader into the protagonist’s camp, not the antagonist’s. Unfortunately, though, this can send the wrong message about the importance of our darker characters, leading to some writers glossing over their development so they end up with cliché, yawn-worthy villains.

Antagonists should be as developed as protagonists.

They should have understandable motivations (for them), have a history that shows what led them down the dark alley of life, and an identity, personality, and qualities that make them a tough adversary for the protagonist to beat. The more dedicated, skilled, and motivated the antagonist is, the more of a challenge they will be, leading to great friction, tension, clashes, and conflict.

So, just as we want to show readers a protagonist’s inner layers and give them ways to connect and care about the protagonist, we should encourage readers to find something good or relatable about the antagonist so it causes the reader to be conflicted. They may not agree with the antagonists’ goal or how they go about getting it, but maybe they understand why this story baddie wants what they want, or they admire certain qualities they have.

When readers are torn over how to feel, they become more invested in the story.

Life is not always black and white, is it? So it’s okay if a tug of war goes on inside them over who is right and who is wrong in the story, or if they care enough about the villain to hope they will choose to turn from their dark path, and redemption may be possible.

So how do we make an antagonist relatable?

Common human experiences, especially ones that encourage moral confliction, are a great way to show readers they have something in common with the antagonist. For example, consider temptation.

Haven’t you ever been tempted to cross a moral line?
Did you ever want to make someone pay because they deserved it?
Have you ever ignored society’s rules because they don’t make sense, are unfair, or were built to benefit a select few?

Temptation is something we’ve all felt, and wrestle with. Sometimes we remain steadfast, other times we give in. So having a darker character be tempted in a way readers relate to will cause them to identify with the antagonist’s mindset.

Another way to use temptation is to get readers to imagine the what if, which can be another area of common ground:

• What if you could easily let go of guilt and do what feels right for you?
• What if you could break the law for the right reasons and serve a greater good?
• What if you could go back in time and erase someone who really deserves to be erased?

This can work well if you tie the antagonist’s desire to embrace the dark side because of a past trauma. For example…

• Maybe they do whatever feels right because they were enslaved by a cruel master as a child
• They break the law because those who make them are corrupt and entitled
• They go back and erase someone because that person killed their beloved and unborn child

Can’t we all relate to these dark motivations just a little? Don’t they help us understand where the character’s behavior is coming from? We may not morally agree with what the antagonist does, but we do feel some connection to them.

And I’m convinced this last one is the key because antagonists and villains have an Achilles heel: their role. As soon as it’s clear they are cast as the Bad Guy or Gal, readers put them in a box. They must be a jerk, a sore loser, a narcissist, someone who’s all about power and control. They must be unlikable.

And I don’t know about you, but when the antagonist or villain turns out to be exactly those things, I’m disappointed. Why? Because it’s expected: good guy faces off against typical bad guy, good guy wins. Yawn.

Relatability makes it okay to like the antagonist, even though they do bad things.

So, to recap and offer a few more ideas…

Craft a backstory that’s as well-drawn as the Protagonist’s. As the author, you need to know why they’re messed up and take the dark path. Use a past tragedy to help readers understand what led them to their role. Maybe you can even reveal this in a way that causes readers to wonder if they would be any different had they been in the antagonist’s shoes. 

Give them a credible, understandable motivation. Even if their goal is a destructive one, they should have a good reason for wanting it. (For ideas on what this could look like, check out the Dark Motivations in this database.)

Give them a talent, something helpful or interesting. Just like a protagonist, your antagonist likely is skilled in some way. What talent or skill will help them achieve their goal? And you can always make this an interesting dichotomy, like an antagonist with a talent for healing who takes in hurt animals but lacks the same empathy for humans. 

Give them a quality or trait that is undeniably admirable. It’s easy to paint a villain as being all bad, so skip the cliché and give them a belief they live by. Maybe they keep every promise or hold honestly in the highest regard and so are always truthful, even if it makes them look bad. Of course, the dark side might be that they don’t suffer lies of any kind, and punish them severely.

Make them human. Sometimes writers can go on a “power and glory” tear and forget their antagonist is as prone to “Average Joe” problems as anyone else. Does their roof leak, do they have visitors show up at an inconvenient time, do they get sick?

Antagonists can have a hobby or secret, struggle over what to do, or regret words said in haste just like the rest of us. So while you highlight their dark ways and volatile emotions, remember to also show how in some ways, they’re just like anyone else.

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Writing Antagonists Readers Can’t Help But Like appeared first on WRITERS HELPING WRITERS®.

A new writing guide is joining the family today, so please say hello to the SILVER Edition of The Conflict Thesaurus: A Writer’s Guide to Obstacles, Adversaries, and Inner Struggles.

In this second volume of The Conflict Thesaurus, we continue our in-depth exploration of challenges, roadblocks, adversaries, and hindrances in all forms. Conflict has many superpowers, and is the golden thread that binds plot to arc, providing the complications, setbacks, and derailments that make the character’s inner and outer journeys dynamic.

This book will help you build a story that has conflict at different levels so characters have multiple problems to grapple with. It will also show you how to leverage friction and tension, force characters to make hard choices, and use adversity to provide key life lessons that will lead to growth, so they can become the person they must to achieve meaningful goals.

Here’s a more detailed look at this book.
Find the full list of conflict scenarios (& sample entries) here.
Here’s what people are saying about The Conflict Thesaurus.
And here’s where you can buy it, print and digital.

Conflict can be explosive, or subtle. It may inconvenience your characters, or devastate them. And whether it’s internal or external, readers can’t get enough of it, and neither can we.

So for the first time ever, Writers Helping Writers is sponsoring a writing contest!

Introducing…

Conflict comes in all shapes and sizes – a physical altercation, personal struggle, relationship friction, a danger or threat…the possibilities are endless. As storytellers, we need to write conflict well. This story contest is a chance to show us what you can do!

Ready to go pen to pen against other creatives and submit a story to our WRITERS’ FIGHT CLUB?

Step into the ring with your original story, any genre, that shows your character navigating one or more of these conflicts from our Conflict Thesaurus Vol 2:

Being Injured
Experiencing Discrimination
Losing a Vital Item
Telling the Truth but Not Being Believed
Being Trapped
Having Unwanted Powers

Or, one of these conflicts from our expanded Conflict Database at One Stop for Writers:

A Romantic Competitor Entering the Scene
Getting Caught in a Lie
Needing to Sacrifice One for the Good of the Many

Stories must be 750 – 2000 words in length. Our official contest rules, deadline, and how to submit can be found here:

Contest is now closed. We will be in touch after judging is complete!

Now let’s talk prizes!

First Place:

A $100 US cash prize
Two 1-year subscriptions to One Stop for Writers
(One for you, one for a friend, a $210 value)
A $100 US donation to your choice of charity that helps those impacted by conflict (domestic violence, war, human trafficking, etc.)
A professional edit of your submission by our amazing Resident Writing Coach, Lisa Poisso
+ Bragging rights!

Second Place:

A $50 US cash prize
Two 6-month subscriptions to One Stop for Writers
(One for you, one for a friend, a $120 value)
A $50 US donation to your choice of charity that helps those impacted by conflict (domestic violence, war, human trafficking, etc.)
A professional edit of your submission by our amazing Resident Writing Coach, Colleen M. Story
+ Bragging rights!

Honorable Mention:

A professional edit of your submission by our amazing Resident Writing Coach, Lisa Poisso
+ Bragging rights!

SUBMISSIONS WILL BE CAPPED AT 100 ENTRIES & THE DEADLINE TO ENTER IS SEPTEMBER 16TH. FIND OUT MORE.

Giveaway Alert!

We also want to give away some of our favorite writing books, so two lucky winners can choose a 5-pack of digital volumes from these below:

Giveaway closed – congrats to HiDee Ekstrom & Dina Mousa!

This giveaway is subject to our legal policy, and runs until September 10th, midnight (EST). Good luck, and watch your inbox!

Thanks for celebrating this new book with us!

Feeling generous? Give this post a share! And good luck in the giveaway & writing contest!

ANGELA ACKERMAN

Angela is a writing coach, international speaker, and bestselling author who loves to travel, teach, empower writers, and pay-it-forward. She also is a founder of One Stop For Writers, a portal to powerful, innovative tools to help writers elevate their storytelling.

The post Release Day: The Conflict Thesaurus (Volume 2) Is Here! appeared first on WRITERS HELPING WRITERS®.