#your friends are varying degrees of shady/shitty but they do love you and have your back if you have theirs

[diamond-dangeresque]

do you understand the words coming out of my mouth.

[jebazzled]

They can’t ALL be serial killers: keeping your villains funky fresh

Ah, villains. Spicy assholes. Tricky buggers.

Villains can be very intimidating to write: writing requires you to put yourself in the shoes of another person, which is one thing to do with a decent person. But when you are putting yourselves in the shoes of a bad one - whether it be someone who is simply not very likeable or someone who functions in an antagonistic capacity to a story or rp universe’s hero - well, it can be uncomfortable. 

I didn’t start writing villains until well into my rp career, and I can’t think of a single character I wrote in my undergraduate creative writing degree who was an asshole. I now write a small handful of them - and like most things, I don’t think writing a villain is quite as scary as we sometimes build it up to be in our minds!

That said, writing a villain is an exercise in nuance, and this is something that is often missing from antagonistic characters. In this tutorial, we’ll talk about what makes a villain, and what makes a villain a well-rounded character. 

Triggers, mentioned largely in passing as examples: criminal activity, murder, assault, child abuse, car accident, drunk driving, animal abuse

What makes a villain?

Generally, when we talk about villains, it’s in the context of a narrative, some sort of overall plot theme where there is Good and there is Evil. Think: Death Eaters, the Dark Side, the Horde, the Daleks, the Orcs, etc, etc etc. For the purposes of this tutorial, I’m talking about characters who serve in that antagonistic role, but everything can also be applied to characters who are just shitty people without a part to play in any larger scheme. 

In a plot context, per Oxford Languages, a villain is “a character whose evil actions or motives are important to the plot.” To be important to the plot, you do have to post, and if that’s something you’re struggling with, you might want to check out my Writer’s Block TED Talk ;)

A villain can have any number of reasons for being Like That: perhaps they were raised with a particular worldview, or were targeted by a negative influence at an impressionable and vulnerable stage, or genuinely believe they are doing the right and good thing. Maybe they’re just an asshole. In-character, your character likely doesn’t identify as a villain (because everyone is the hero of their own story) and in-character, your character might have friends, allies, and others with varying knowledge of your character’s misdeeds. 

However, out-of-character, you and other writers should recognize that your character is a shitty person. Writing one-dimensional, universally terrible assholes isn’t much fun, though. Which is where nuance comes in. 

Give your character other traits than “evil.” 

Unless your character is THE Big Bad - the Voldemort, the Sauron, the Hordak Prime - there is no reason for them to be Ultimate Evil, and writing them as an endless wash of evil will be boring for you to write and boring for other people to read. Your character should be something other than naughty. 

Using my own handful of villains/bad guys as examples, since obviously I take my own advice, and with apologies that 99% of my rp writing is in the HP verse:

Claude is a Death Eater as well as second-in-command of the magical mafia. He’s an expert blackmailer, has no qualms with murder, and can get pretty gruesome about it if he’s pressed to make a point. He also doesn’t drink, is a devoted father (has framed finger paintings in his study! drinks the pink lemonade his daughters love in crystal rocks glasses!), uses weird slang (”beat it, bozo!”) and takes the family spaniel on daily walks through Kensington Gardens. 

Cleo is a Death Eater and a lifelong bully, prone to theft, physical abuse, and with a knack for the Cruciatus Curse. She’s also deeply insecure, with an unshakeable need to be seen as useful; she’s competitive, and she’s horny enough to drop her purist pretense if a Muggle girl is what’s easiest to get her rocks off. 

Sadie is a squib spying on Order-organized safehouses for the Death Eaters. She’s also intensely curious and ambitious, determined and self-directed, and if she doesn’t understand emotions, it certainly doesn’t stop her from understanding how to manipulate them to maintain the illusion that she is not a threat. 

All three of these character concepts are more compelling than:

Veronica is rude, hates people, is outwardly mean to everyone she meets, uses cultural slurs on the regular.

We get it! Veronica is a shitty person! What else is she? In real life, shitty people typically do find camaraderie somewhere, somehow. Maybe Richie is a total asshole but has made a lot of money from his hedge fund, and he is generous enough with his yacht, ski condo, and jet that he has an entourage he thinks are genuinely his friends. Maybe Kaiytlynn is selfish and entitled, but her access to the entire royal family of Spain keeps her gainfully employed, and she’s genuinely good with her bedazzled bra business. Maybe Claudia is a giant racist, and she’s also YouTube’s most popular craft video creator. 

In real life, maybe there are some shitty people who exhibit fully antisocial behaviors and are rewarded for it. But this is fiction writing, and moreover, it is collaborative fiction writing, and Veronica is not a character who is fun or enjoyable to plot with. Antagonistic plots can have more trouble finding their footing than strictly romantic ones - but they can be fun and rewarding, provided that the antagonist is a compelling one. 

Let your character be something other than “evil.”

Give your character a cover.

More specifically than a trait other than “evil,” give your character a cover. By this I mean: give your character an angle that obscures their true colors, something that lures people - good people and bad people - into a sense of safety. 

Give your character something that keeps other characters from taking one quick look at yours and immediately clocking them as a bad guy. 

In real life, it often takes time to realize toxic people are toxic. In real life, people enjoy circumstances that make people less likely to view them as toxic - just look at the number of people who think Jeff Bezos’s obscene wealth is a marker of his merit as a human being. 

If your character commits a murder a week, is actively abusive to everyone they meet, and has no relationships with any other characters who might vouch for them - idk, man, I think your character is going to get caught! If your character is a quiet and unobtrusive owner of a vintage boutique, however? Well, they certainly don’t scream “IT’S ME! I’M BAD TO THE MOTHERFUCKING BONE!”

In the case of my bad guys:

Claude is a doting husband and father, notably not ascribing to purist tendencies that discourage women from work outside the home. He does legitimate work in real estate and investments, in addition to his shady dealings, to have a legally-sound paper trail should he ever be investigated. His family money funds an entire wing at St. Mungo’s Hospital, and he contributes to political campaigns for centrist politicians. He presents as a harmless goofball. He killed a man well before he turned seventeen. He almost went to Azkaban before graduating from Hogwarts. (”Oh, but he’s on the straight and narrow now!”)

Claude’s cover is that he masquerades as a genuinely good person, and a nice person. When people think about his old-money Sacred 28 family and what that might mean for Claude’s political activity, they also think about how he is a Gryffindor - not known for churning out Death Eaters - and they think about how he doesn’t seem intense enough to be a Death Eater. They don’t suspect enough to have much to go on. 

Cleo works as an Auror, and she’s genuinely good at her job - if only because she manipulates cases away from incriminating Death Eaters and their allies and occasionally Imperiuses a contact or two from her days as a Knockturn Alley bouncer to frame them for a crime. She doesn’t use slurs like “mudblood” at the office and doesn’t talk about blood status there, either. She doesn’t pretend to be nice, and her honesty there makes it easier to believe she’s not pretending when she does her job. It helps, too, that she is not Marked. 

Cleo’s cover is that while she seems like an asshole and is an asshole, she works in the agency tasked with eliminating Dark wizards and she’s good at her job, as far as anyone can tell. She is an asshole, but there isn’t reason to suspect she is an asshole who is part of the Death Eaters, and it is not illegal to be a dick.

Sadie goes out of her way to be friendly to every new safehouse occupant, acting as a guide to newbies about how to live in the shadows. She performs the role of caretaker, therapist, and confidant, carefully doling out the reveal that she is a squib for sympathetic effect. 

Sadie’s cover is that she manipulates other people into viewing her as too weak to be any kind of threat, and she intentionally manipulates people into relying on her for support and guidance. 

If your character is not experiencing social repercussions for being an asshole, they need to have a cover. If they are being an outright asshole, this should negatively impact them somehow. 

An outright asshole might be stuck in a dead-end job because no one wants to promote someone who’s not a team player. An outright asshole might be super lonely without the self-awareness to realize that their garbage personality is the reason for their romantic troubles. An outright asshole might not be able to talk their way out of a problem. 

If your character is an outright asshole and experience no repercussions whatsoever, they’re probably a bit OP. 

Give your character a motive. 

Now the big question: why is your character Like That? Like, for real. It’s so easy not to be a dick. Why are they a dick? What’s in it for them?

Yes, some characters might be an asshole because they think it’s fun and they like to watch other people suffer. But if all your characters are like that - isn’t that kind of boring?

If all your characters are like that - are you actually writing distinct, well-developed characters, or are you just spitting out the same edgelord with different faces?

Some of your character’s reason for being a dick can be because they think it’s fun. It can’t be the entire reason. It especially can’t be the entire reason all the time. 

Of course you can come up with a big tragic reason why a character is an asshole - but it truly doesn’t have to be that deep. (Tips on tragic backstories here.)

Of my baddies:

Claude is a purist because someone has to be a lesser class, and it’s sure as shit not going to be him! Claude is a Death Eater because his father saw a business opportunity - both direct work (e.g. the DE contracting Claude and his goons out for a hit, trafficking dark goods, doing deals with purist groups in other magical organized crime outfits across Europe) and indirect work (e.g. having stronger appeal to some of the most influential wizarding families.) He doesn’t love being branded with the Dark Mark (HE is the master of his fate, goddammit!) but hey, it’s a living.

This is a motive centered around financial gain and expediency. Claude is shitty to value money over human life, and he has no qualms about violence - but the motive is not “fun.”

Cleo is a Death Eater because, as a girl from a pureblood family of no importance, she recognizes that many of the people in the Death Eaters are important and influential, and she wants that kind of power. Additionally, she does get a kick out of violence, but she’s a weapon more than she is a fighter: she’s a tool who needs someone to wield her, to give instructions, to give her purpose. The Death Eaters offer both.

This is a motive centered around status and around order - Cleo being a person who needs order externally forced upon her. 

Sadie is working for the Death Eaters because she believes they will win the First Wizarding War, and she wants to secure a place in their new order - ideally something more than she had previously as a squib. She figures if the good guys are really good they’ll forgive her for keeping herself alive - but that the bad guys won’t forgive disloyalty. Also, her boss in the Death Eaters indulges her research in the Dark Arts, which is fun. 

This is a motive centered around security and self-satisfaction. It’s very selfish and cold, but it’s not, like, Sid from Toy Story. 

Why is your character Like That? What do they get out of Being Bad? What do they like about it? What purpose does it serve for them? 

If you can’t think of a reason your character would be a Bad Guy beyond that you want to write a Bad Guy, you should probably rework the character. It’s tricky to write someone who really should just be a Good Guy as a Bad Guy because, depending on your site’s setting, you might end up being a Bad Guy Apologist, leaning into the positive qualities of your character without writing them as an actual villain/antagonist/baddie - and remember, Death Eaters are shitty people! Antagonists antagonize! They should be complex, but you should never lose sight of an abusive class being abusive! 

And finally,

They can’t all be serial killers.

It’s tempting, since we’re writing fiction here and we all love drama, to reach straight for a Big Evil when we’re writing a baddie. They murdered ___! Egads!

If all of your baddies murdered their spouse/parent/sibling, again I ask you: are you actually writing distinct, well-developed characters, or are you just spitting out the same edgelord with different faces?

(If all your baddies specifically murdered a woman, might I ask you to examine this choice? Misogynistic violence is not a shortcut to character development.)

Cast of characters aside - what is it your character does that makes them evil? It is worth noting that bad behavior exists on a spectrum, and to jump to the far end of that spectrum without building the character up to it is often jarring and confusing. There are many, many things your character can do that might contribute to their Bad IdentityTM without killing anyone!

Baby Bads: No one gets hurt in a serious way, but the character is unpleasant. Think: a schoolteacher might not let you go to recess. You might get detention. Examples:

petty theft

general assholery

bullying

lying, small & large scale

general unkindness

minor manipulation for personal gain

Middling Misdeeds: These might cause some harm - physically, emotionally, or otherwise - but there’s some room for smart-talking or otherwise evading major consequences. Think: suspension. Examples:

larger theft and other money-related naughties: money laundering, ponzi schemes, etc

physical assault/battery

blackmail

bribery

large-scale manipulation for personal gain or for fun

hate speech (to be clear, I, JB, think this is way more than middling, but in art as in life, a lot of characters are going to do it and get away with it.)

Terrible Transgressions: The far end of the spectrum of antagonistic behavior. If your character is doing this shit, it shouldn’t be coming out of the blue. If your character is doing this shit, there’s got to be a character-driven reason beyond “flavor.” These are things that would get you expelled and moved into criminal court. A lot of things that are viewed as standard topics requiring a trigger warning fit into this category. 

murder

sexual assault

torture

child abuse

It’s easy in rp, where there are often way more criminal types in a character population than we hope exist IRL, to forget that murder is.... like.... it’s a BIG DEAL. It’s not something everyone has done. And thank dog, right?

If you’re attached to your character being someone’s cause of death, for specific character-driven reasons, you might think about alternatives. For example, if you hope to convey that Brandon Baddie is a callous asshole, instead of having him kill his roommate over a household chores dispute, you might have him drive drunk, hit a pedestrian, get out of the car, see the body, and drive away. If you hope to convey that Sandy Sadist is cruel, you might have her threaten her sister’s dog, but not actually hurt it, enjoying the fear of the sister and of the dog more than she would enjoy actually hurting either. If you hope to communicate that Ruthie Reckless is thoughtless, you might have her driving 100 mph speeding to the edge of a cliff while her father sobs in the passenger seat, stopping just inches from the edge. 

There are so many ways to make a point. If you’re going to kill someone to make a point, do it sparingly, and with very deliberate purpose.

Whether you’re starting your first villain or hoping to hone your villainous sword, I hope you found this tut helpful! Best of luck, and happy writing!