An antagonist works against the protagonist to stop her from achieving the story goal. Together they form a dynamic pair whose ongoing battle forms the spine of the story.
We know that a well-written villain is clever and resourceful. He believes he is the hero of his own tale. He is often articulate, even eloquent, with a well-defined philosophy about life which motivates his actions and explains his loathing for the hero and her goal.
These characteristics emerge through his actions, but also through at least one great speech in which he explains to the hero, or another character, the depths of his villainous vision.
But it seemed to me that truly memorable antagonists needed something more – an extra ingredient that guaranteed their place in the annals of villainy. It was during one of my classes on writing that it struck me – great villains exhibit what may be described as a double, or triple dip. This is the moment when the character surprises the hero by diving even deeper into the pit of darkness.
“A deeply villainous antagonist should be the mainstay of any gripping story.”
In the TV series, Outlander, an English officer, Black Jack Randall, has already proven to be a ruthless and cruel man capable of rape and murder. But in a crucial scene in a later episode he reveals to us the depths of his wickedness.
He explains to his prisoner, Claire Fraser, the hero of the story, that the two hundred lashes, administered to a young Scot accused of stealing, were something beautiful, a work of art. We see the whipping as a flashback and flinch at the relentless violence of leather cutting into the torn, bleeding flesh of the young man – first dip.
Randall then seems to relent. He admits to Claire that he is filled with self-loathing for the man he has become, giving her hope that he will free her, and also, bolstering her cherished belief that any man is capable of redemption. But, suddenly, he turns and punches her in the gut, driving their air from her lungs. She falls to the ground gasping – second dip.
As if that’s not enough, he orders his reluctant soldier to kick her while she lies gasping on the floor, describing the kicking of a woman as something liberating – third dip.
These actions don’t only represent plunges into physical cruelty. They are an attempt to crush the spirit of the person they are directed against – Claire believes that Black Jack Randall can be saved. He proves to her he can’t. This isn’t only a physical blow, but also is a blow against her Christian belief in the ultimate Salvation of Man.
It is this triple-dip, combined with a relentless desire to destroy his enemy’s spirit that makes Black Jack Randall a truly memorable villain.
Villainous antagonists are driven by a relentless desire not only to crush the hero’s body but his or her spirit, too.