Get on with your BAD self!

Amy here, working under my first editing deadline for my publisher! I needed to add a few scenes with my killer and so I looked back over this post I wrote almost EXACTLY one year ago today and WHAM! Inspiration struck! Apparently sometimes I just need to go back and relearn my own advice. ;)

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Ahh, villians! Such royal pains in the keester and yet so vital to the story. Even our own.

I’m mean, one can’t easily develop muscle without resistance. So most often character is honed and forged through trials. You can hardly have conflict in the plot if there isn’t an antagonist of some kind throwing a wrench in the plan here and there. 

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And yet, villians come in all shapes and forms. Sometimes your villain is as dark and creepy as your worst nightmares. A murderer, a stalker, someone with a dangerous edge or volatile temperament. Some have warts and slime and are easy to recognize for the toads they are.

Other times it’s the devil in disguise. (Ever thought about the term Handsome Devil?---deception and second guessing are keys.) A meddling mother or a jealous best friend secretly unraveling things behind the scenes. A boss, an ex, a bully. Ever been bullied? Boy, I have! And I’ve got to say those people aren't generally inclined to leave you alone. They insinuate themselves into your story. They pick at your insecurities, they taunt, cheat, lie, manipulate, slander mercilessly. Sometimes we can see the devil in that villain without question. Other times they are right under your nose and you don’t even know it! There isn’t exactly a mold for what a villain should look like so how can you be sure your pest pulls the right strings?

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Here a three things to think about for creating an adequately BAD bad guy…

Impact… 

Your villain must (MUST) impact the plot in some way.  I’ve seen it happen… some flimsy little antagonist is lurking in the shadows with a threat or some kind, making the hero or heroine shake in their boots but ultimately, the villain doesn’t move the story one iota. They are hardly a character. Evil is relentless. Bullys bully. Make your words count. Sure, throw in a red herring here and there, use subtly, be clever and intentional, but make an impact with each character that has significance. Do it by tossing some surprise twists on the page. And be sure your put your villain there as well. Trust me, those pages will be a turnin’! It’s not enough to have your villain tucked away, bring him out to play and let the games begin.

The willies…

Whether your reader knows who the villain is or not, there should be a check (however small) in their gut when the villain waltzes onto the page to dismantle a scene. How do you respond as a reader? It’s that little curl of dread.

 Oh, that pesky ex is annoying, sure, but what if they ruin it all? That stab of fear plunges deep, what if it all falls apart with that one vindictive strike? Or, what if that girl in the alley turns her back at just the wrong moment and you know he’s waiting there…

The reader empathizes right there at that anticipated encounter. The TENSION says it all. When that antagonist walks in, you FEEL it on the fine hairs at your nape, the shiver trips over your nerve endings, dread balls up in your stomach. You become the hero or heroine right then. And all of your long buried bullys and demons resurrect in your mind. You shield yourself against the hurt that comes barreling out of nowhere. You prepare to fight for the happy ending. Just like you had to do in real life. (How awesome are stories, right?) The willies evoked in sympathy put you in your characters shoes and you walk through the battle because of what the enemy makes you feel. 

The imagination is a powerful thing. Be sure you utilize your senses on the pages so it can take you places. And so your villain can adequately give your reader the willies.

The fall…

Whether there is vindication or forgiveness, a battle to the death or turning the other cheek, the conflict has to peak and your villain should be present in most cases. The climax has to pack a punch and what better way to do that than to draw out your hero’s greatest fears or doubts. Shake them up! Step into the villian’s shoes for a moment as a writer and do a little tormenting yourself. Sadistic? Perhaps. But stories without the right tension fall flat and lay limp on the shelf. And your villain is the puppeteer pulling all the right strings.

So go on… get on with your bad self. Your story will be better for it because let’s face it… villians are real and we face them every day. Suit up and battle through your own story. The battle isn’t easily won but it’s absolutely worth it. 

Lets dish and do a bit of brainstorming: Tell me about your current villain? What makes them effective in creating conflict in your story?

And if you need some mood music... 

<3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3 <3

 

Amy Leigh Simpson is the completely exhausted stay-at-home mama to the two wild-child, tow-headed boys, one pretty little princess baby, and the incredibly blessed wife of her hunky hubby.

She writes Romantic Suspense chalked full of grace that is equally inspiring, nail-biting, and hilarious. And a little saucy! Okay fine, a lot saucy. :) She is a member of ACFW, and now uses her Sports Medicine degree to patch up daily boo-boos. Her greatest ambitions are to create stories that inspire hope, raise up her children to be mighty warriors for Christ, invent an all-dessert diet that works, and make up for years of sleep deprivation. 

 

Look for her debut novel due out this fall with WildBlue Press!

 

"Where Will You Go? I'll Find You": What Les Mis Taught Me about Creating Believable Antagonists

Have you ever read a book where the antagonist appears to have been clipped out of the Sunday cartoon pages?

It can be a challenge to create a believable villain.

One that has dreams and fears. Compelling backstory shared in small tidbits. True-to-life dialogue makes this character a man you love to hate.

My favorite literary antagonist? Inspector Javert.

Read on to find out why and what he taught me about the heinous art of villainy.

Let's begin at the end (this short scene may contain spoilers if you haven't seen any film version of Les Miserables).


Javert: I'm glad I had time to myself. I needed to think... about what you deserve. You're a difficult problem. Move to the edge.
Valjean: Why aren't you taking me in?
Javert: You're my prisoner. Do what I tell you! You don't understand the importance of the law. I've given you an order. Obey it. Why didn't you kill me?
Valjean: I don't have the right to kill you.
Javert: But you hate me.
Valjean: I don't hate you. I don't feel anything.
Javert: You don't want to go back to the quarries, do you? Then for once we agree. I'm going to spare you from a life in prison, Jean Valjean. It's a pity the rules don't allow me to be merciful. (He frees Valjean from the handcuffs) I've tried to live my life without breaking a single rule. You're free.

 This is the compelling end of the 1998 film version of Les Miserables. Although there are many film versions and the recent musical version is emotionally compelling and visually spectacular, Geoffrey Rush is my favorite in the role of Javert.

I quoted from the last scene of the movie, because it provides a number of insights into Javert's character that are demonstrated throughout the novel. The importance of the law and keeping justice are motivating elements in Javert's life, shown clearly in this scene.

"I need to think about what you deserve." How does your antagonist put his world together? Justice is the main lens through which Javert sees his world, therefore whether a character receives fair treatment is important to him. What is the motivating force that drives your antagonist? How might this cause his hatred of your protagonist? How does this influence what he thinks of your main character and how he might react to him or her?

"You're a difficult problem." Your protagonist views your antagonist as a problem to be solved, but don't forget your antagonist views your protagonist the same way. Look through his eyes for a few minutes. What  types of specific problems does your protagonist create for your antagonist? How does that further his fuel in opposing your hero/heroine?

There, out in the darkness
A fugitive running
Fallen from God
Fallen from grace
God be my witness
I never shall yield
Till we come face to face
Till we come face to face

This is the first verse of "Stars", a theme song for Javert in the 2012 musical (and previous Broadway versions). My favorite version is sung by Philip Quast in the London production.

Val Jean has thwarted Javert at every turn since he evaded his parole many years earlier. Javert's worldview does not allow for redemption. Javert views it as his God-given purpose to capture those who have disobeyed the law. He exacts the same harsh standards on himself as he does on others. Javert's lie is that character change is not possible. Just as Javert cannot change his past, he also believes he and others cannot change their future. Valjean stole a loaf of bread to feed his family, his identity is forever as a thief.

What is your antagonist's lie? How does it affect how he interacts with your protagonist?

 

"You're my prisoner. Do what I tell you! You don't understand the importance of the law. I've given you an order. Obey it. Why didn't you kill me?"

Life should be well-ordered. The law gives Javert's life meaning. His mother was a prostitute, his father a thief. Javert was born in a jail cell. He will do everything he can to make sure he does not become like his parents. When he strikes out at a prostitute, in some sense, he is trying to bring order to his disorderly past. 

Javert is flabbergasted that Valjean didn't take the opportunity to kill him in a back alley chase. He doesn't understand the changes in Valjean, who promised his soul to God when a priest forgave him for stealing precious candlesticks. Valjean's decisions are now based on mercy, not justice. Javert does not comprehend Valjean's new worldview.

What does your main character do that puzzles your antagonist? Disturbs his/her worldview? 

Javert: But you hate me.
Valjean: I don't hate you. I don't feel anything.

As Christian writers, forgiveness is a main theme in many of our novels. Our salvation itself is based on Christ's forgiveness of our sins. And we are called to forgive those he has placed in our path.

In Him we have redemption through His blood, the forgiveness of our trespasses, according to the riches of His grace. (Ephesians 1:7, NASB)

Then Peter came and said to Him, "Lord, how often shall my brother sin against me and I forgive him? Up to seven times?" Jesus said to him, "I do not say to you, up to seven times, but up to seventy times seven. (Matthew 18:21-22, NASB)

Javert cannot comprehend the mercy of Valjean. Valjean has a chance to kill Javert, but doesn't take it. Valjean doesn't hate Javert, he pities him.

How can your main character show grace and mercy to your antagonist?



Do you have a favorite antagonist in a book or movie? What villain do you love to hate...and why? 

What techniques do you use to create a strong antagonist in your own work?

 Julia enjoys writing women's fiction whenever she can find a chair free of smushed peanut butter sandwiches and lego blocks. She is a wife and homeschooling mama of two littles. She also a reviewer for Library Journal, Christian Library Journal, and Title Trakk.

The Lord of the Rings

I love this trilogy. The Fellowship of the Ring, The Two Towers, and The Return of the King. Yes, yes, and yes. And I feel like I’m cheating a little because these movies were of course created based on J.R.R. Tolkien’s books.

Even so, I couldn’t resist. These movies pulse with all of the classic elements worthy of an epic. Even if you’re not drafting an epic right now, there’s something to glean from the well-structured plot and the hobbit-sized characters with enormous hearts (and feet…and ears…).

Grab the popcorn, folks. We’re dimming the lights with the hope some bulbs will click on with our own WIPs.

(Turn off all cell phones and please shhh, no talking.)

A Protagonist with Promising Potential for Growth
Who do we have in Frodo Baggins? Someone unexpected and small to root for, that’s who. He demonstrates moments of weakness and great strength. He’s determined, motivated, and faces innumerable obstacles on his adventure.

An Antagonist We Love to Hate (and then some)
Saruman and Sauron—tag team of tongue twisting terrors.

Saruman, a wizard believed to be on our side. Nope. Isn’t that the kind we fear most, one who we believe is good, but has intentions to destroy? Accompanying Saruman is that evil eye thing that scans Middle-earth, Sauron. Can you get freakier than an enormous black eye surrounded by fire on the hunt for more power?

Strong and Likeable Secondary Characters
I’m pretty sure I have a crush on Samwise. My husband and I like to joke with each other when one of us seems a little exhausted, “Share the load.”

This is what Samwise says to Frodo, always willing to help, the ever-loyal sidekick. I also like how he has his own story and drive in each scene. As he pines for a girl in the Shire (Rosie Cotton), he longs to see Frodo succeed for the sake of Middle-earth.

And for laughs we have Pippin and Merry.

And how about that Aragorn? Can I get a whistle or two? Or are you more of a Legolas fan?

Location, Location, Location
The Shire. Rivendell. Isengard. The names alone make me want to study a map and locate the hobbit’s journey to save Middle-earth. Heck, the name Middle-earth alone makes me want to study a map…

Layered History
Gollum… ‘nough said.

Surmounting Obstacles
The two Ss. Gollum. Slashed by a Ringwraith. Frodo’s own internal battle. This story is woven intricately with complications.

Even a Love Story
Aragorn and Arwen sitting in a tree. Doesn’t exactly roll right off your tongue, but still. Their elfin/middle-earth man love story worked for me.

Victorious Ending
After great battles and great internal conflict we are given a great ending (and if we’re talking about The Return of the King, we’re given about thirteen great endings). Readers love to feel like they’ve survived when they come to the end of a book. We can give them that and more. We can give them a great end (or thirteen).

I haven’t even touched on the fantastic symbolism (wish I had time for it), but no matter how you watch it, this movie rings epically true. ;)

Have a favorite scene from the trilogy you’d like to share?

*photos from Flickr

Secondary Characters – Side-Kicks, Friends/Family, and Recipes for Conflict Part II

Welcome to Friday everyone! I want to continue talking about secondary characters today, and discuss what they can do for your novels. In Part I of this post, I explained the four types of secondary characters and their importance to stories. Today, I'm going to review the categories and give a few movie examples of the categories to show the kind of dimension they can add to fiction.

Our first category was The Side-Kick/Loyal Friend. As we established before, these secondary characters are the tag-alongs or the MC's right-hand man. These characters are there for their friend no matter what. They often join the hero in their quest and want to be in the middle of the action. Sometimes these characters can be pets.

For example, D'Artagnan from The Three Musketeers. He's loyal and with the Musketeers no matter what. He won't give up and therefore propels the story with his fearless endeavor to do right.

Also, Marley (the dog) from Marley and Me. Another loyal character that acts as the MC's good friend. Marley's loyalty and penchant for action moves the plot forward and helps to make for a great story.

The Spiritual/Moral Friend (also known as the Self-less Friend) are characters, typically friends or family, who see the good side of things. They see the good in the bad and often make the MC want to persevere. They operate by a spiritual or moral compass that guides them to give the MC advice or encouragement that will benefit them or the greater good. These characters want what's best for the MC and are often willing to sacrifice for the hero or heroine.

Beth in Little Women fits well in this category. She's a strong secondary character that has a great impact on Jo with her optimistic outlook and unwavering friendship.

Also, the MC's good friend and lieutenant in the fire department from the movie Fireproof. He provides crucial spiritual guidance that helps the MC toward the positive outcome of the story.

As far as The Well-Intentioned and Flawed Friend, this character often provides tension release or humor. This character tends to help the hero in ways that gets them into more trouble or elicits more conflict even if they're well-intentioned. Through humor or quirkiness, they endear the reader and the MC but often times they leap before they think.

Two examples of this are the brother, Jonathan, from The Mummy and the MC's friend, Riley, from National Treasure. They're both one of the good guys. One is endlessly causing more trouble for the MC's but he's well-intentioned. The other provides much humor, endears those watching and propels the plot with his knowledge or sometimes lack thereof.

Finally, there's The Antagonist. Sometimes antagonists are secondary characters. When they're used in that capacity, they appeal to readers in some way. This is often by showing some sort of redeeming characteristic or qualities that interest a reader--usually a personality trait such as humor. These characters sometimes redeem themselves or end the story with a selfless act.

For example, Tommy Lee Jones' character from The Fugitive can be considered the antagonist. He's against the protagonist, doesn't care much about who killed the protagonist's wife in the beginning, but he changes throughout the movie.

Another strong antagonist example is Ben Wade, gun-slinger and wanted for murder, from the movie 3:10 to Yuma. He's clearly the bad guy but he has redeeming characteristics, like respectfulness and high esteem for good manners. And by the end, he further redeems himself with a selfless act.

As you can see, these characters might fit into more than one category. But the important thing about them is that they add depth and dimension to a story--something that is important for fiction. They encourage, lend humor or move the MC forward spiritually, even act against the antagonist, in order to progress the plot.

Secondary characters can be powerful additions to your novel and help to present it in a more unique way. Do you give a lot of thought to secondary characters before you add them in your novel? Do any of your secondary characters fit into these categories?