What Motivates The Bad Guy?

Some characters are just born bad. Serial killers, werewolves, bankers—evil is in their blood and they are driven by a compulsion to do terrible things.

But not all antagonists are out and out villains. Just because your mother stops you doing anything fun, interferes in everything you do and guilt trips you into giving up your exciting plans to go curtain shopping with her, does that mean she’s a psycho who can’t be stopped? Hmm, okay, bad example.

My point is while there are some types of characters whose motivations don’t need to be explained because they are basically insane and can’t help themselves, most of the time the person acting against your hero needs their own reasons for pursuing their goal in such determined fashion.

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Uncontriving Characters

In writing a story you want to limit the number of characters you use. Instead of your main character having one friend to commiserate with over a drink and another friend drive him to the airport, they might as well be the same person. 

Sometimes it can be obvious which jobs should go to which characters, but other times it can take a while to realise you can meld two into one. As well as making things more manageable, there are a number of useful consequences of doing this.

Fewer characters are easier to remember and makes the story easier to follow. Giving a character more than one thing to do gives them depth and complexity and generally makes them more interesting. And having familiar characters turn up in different parts of a story is something readers like.

However, simply conflating a bunch of characters into one person can come across as contrived. 

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Should Secondary Characters Change?

There are some good reasons to keep secondary characters (both friend and foe) fixed in how you represent them in a story.

A lot of these kinds of characters  aren’t going to be in the story all that much and they have specific roles to play. Whether it’s to move the plot along or reveal aspects of the main character, playing a supporting role doesn’t always benefit from too much fiddling.

You also don’t want to confuse the reader with a constantly changing cast that makes it hard to remember who’s who. Nor do you want to steal focus from the main players by going off on a tangent.

But then, you also don’t want to create a roster of one-dimensional automatons who walk on to the page to deliver the same old shtick every time, like a bad sitcom.

So how do you balance the two? And do you need to?

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Digging for Writing Advice Gold

Advice, for writing and for everything else, is situational. In some cases it applies, in some it doesn’t.

When a concisely phrased suggestion fits perfectly with what you’ve been trying to work out it can be mind-blowing. Everything suddenly slots into place. You know exactly what you need to do. Not only does it seem to give you the answer to the problem at hand, it can change the way you look at the world in general.

But advice, no matter how apropos, never applies to everything. The camera never lies, love conquers all, honesty is the best policy, they all have their exceptions and so does every other piece of wisdom.

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Scene Simpatico

In a scene where your character gets angry, you want the reader to share that anger. If the character is scared, you want the reader to feel that fear. If a character being interviewed for a job feels nervous and his leg is bouncing up and down, it’s very rewarding to be told by a reader that their knee started sympathy-bouncing when they were reading that scene.

Putting the reader into a character's shoes by having them experience the same emotion is a powerful tool and a great way to form a connection between story and audience. But this isn’t always just a simple matter of describing what the character is experiencing and hoping the reader will be immersed into their world.

Moreover, not all states of mind are equally interesting to be immersed in. An insane character, a disoriented character, a bored character, these can all be accurately conveyed, but should they be?

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Getting Characters Going

It doesn’t matter what kind of character is at the centre of a story, they will all face the same fundamental issue. Something needs to be done and they have to be the one to do it.

The world needs saving, a toy needs buying, or a heart needs winning, but before you get to that, first the character has to make the determination that they are going to act rather than give up and go home.

Whether they succeed or fail depends on the story you want to tell, but whether they try is not up for debate, because otherwise you wouldn’t have a story. So you have to have a character that decides to act and keep going no matter what. But what is that makes them unable to walk away? Understanding what drives them will provide you with a core element of the character, and the driving force behind your narrative.

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All Character, No Plot

Occasionally I will get questions from new writers and by far the most common concern plot. The aspiring novelist will have a very strong grasp of who they want to write about and where proceedings will be set, but actually coming up with a plot seems daunting.

For some people the events that take place are the first things they come up with, but if that isn’t how it works for you then having an intimate knowledge of your main character is still an excellent route to working out what the story will be about.

Bear in mind that even the most inexperienced of writers is still a hugely experienced reader. We have all been reading, hearing and watching stories for many years. But while everyone feels confident in their ability to judge whether those stories are good, bad or indifferent, when it comes to our own writing it becomes much more tricky to gauge.

If you have a strong sense of how a story will go that’s all well and good, but if you don’t then here are three steps that will help demystify the process.

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What Struggle Means For Character

As readers we like to see characters struggle. It’s entertaining and thrilling. But that’s what it’s like for the reader. For the character, struggle serves another, less obvious purpose. One that can easily be overlooked.

When a butterfly emerges from its cocoon, it is frail and weak. But it has to use up all the energy it has to break out of the little prison its caterpillar-self made.

However, if you were to lend a helping hand and make an incision in the side of the cocoon, enabling the butterfly to emerge quickly and easily, the butterfly would die.

Because that immense effort isn’t just there to make life hard, it’s there to give the butterfly the strength it needs to be able to fly. By struggling against its surroundings, the new body is able to stretch and flex and gain power.

Struggle provides the conditioning necessary to meet future challenges.

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Story, Character and Contradiction

Human beings are full of contradictions. We want what we don’t have. We get tired of what we struggled to get. We say one thing but do another.

It’s not just people who behave this way, throughout the universe things are happening that aren’t supposed to be happening. We think we know how something works and then it does something completely different.

We like patterns, we like working out the rules and being able to predict events. But there’s always an exception to the rule. An anomaly will arise. The unexpected will turn up with alarming regularity. And when this happens our reaction is to take a closer look. We are fascinated by contradiction and want to examine it for answers, even when there are none to be had.

This urge is powerful and is just as strong in the fictional world as it is in the real one.

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The Three Dimensions of Character

A well-rounded character who feels like a real person is obviously what we all want to write. Sometimes this naturally occurs, maybe because the character is based on a real person or on an archetype of the genre. In some cases they may be based on another fictional character from a favourite book.

The writer feels comfortable with writing about them because they know exactly who they’re writing about.

There’s no reason why that approach won’t work. Obviously there’s the danger of creating a cliché or stereotype, but even then that can work if the story is strong enough.

If, however, you want to write a character from the ground up, a character who is as real as any person living, yet wholly your own creation, then there are three aspects you need to know in depth: the physical, sociological and psychological.

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