Writing Notes: Villain Archetypes

Writing Notes: Villain Archetypes

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Many of the great villains that oppose classic heroes fall into a handful of villain archetypes:

Anti-villain: The anti-villain is a villain archetype in which the bad guy has a sympathetic motivation or appealing characteristics. In the same way that an anti-hero is ostensibly a good guy with villainous or immoral tendencies, an anti-villain may have justifiable, noble goals or even a good side. Example: Hannibal Lecter in The Silence of the Lambs (portrayed by Anthony Hopkins in the film version).

The beast: A classic villain whose goal is to terrorize and attempt to defeat the main character, the beast is a literal monster. This type of villain cannot be reasoned with and is often found in the horror or science fiction genres. The whale from Moby Dick and the shark from Jaws are examples of this type of villain.

The bully: Bullies serve as simple, straightforward opposition to the protagonist. This character archetype is sometimes marked by a backstory that explains their mean and oppressive tendencies, such as a childhood marked by abuse or insecurity. Other times, they are simply mean for the sake of being mean. Examples include Nurse Ratched from One Flew Over the Cuckoo’s Nest and Fletcher from the film Whiplash.

The machine: The machine is similar to the beast, with one major difference: It is a technological construct and is therefore lifeless and incapable of pain, fear, and emotion. The machine can often be found in science fiction thrillers—like Ultron in Avengers: Age of Ultron or Arnold Schwarzenegger’s robotic killing machine in The Terminator.

The mastermind: The mastermind opposes the protagonist by overseeing a brilliant, diabolical master plan. They are a gifted schemer and evil genius who attempts to defeat the protagonist mentally as opposed to physically. Great villains in the mastermind tradition include Hans Gruber from Die Hard and Lex Luthor from the Superman series.

Evil incarnate: This villain personifies evil itself, offering little in the way of character development or backstory. This type of evildoer serves as an obstacle to the hero’s journey and is primarily found in fantasy and superhero genres. Examples include Sauron from The Lord of the Rings, Darth Vader from Star Wars, and the Joker from The Dark Knight.

The henchman: The henchman exists to do the dirty work of someone else, usually the mastermind or another major evil character in the story. They are functionally the sidekick of the main villain. Though they usually lack the villain’s brains, they make up for it in brawn. Examples include Boba Fett from Star Wars and the monkeys from The Wizard of Oz.

The fanatic: The fanatic’s villainy is driven by an extreme ideology. Oftentimes, they are propelled by religion or a twisted moral belief that gives them fuel to carry out their twisted mission. The serial killer John Doe from the movie Seven is a true villain in the fanatic tradition.

Tips for Writing Compelling Villains

When it comes to writing villains who transcend cliches, there are 4 techniques that can elevate your writing:

Make sure your villain has a strong connection to your hero. A true villain is inextricably connected to the hero and aids in the hero’s character development.

Make them a worthy opponent. A great villain is a strong and worthy adversary to your hero, directly opposing the hero archetype of your protagonist. The villain shouldn’t be weak and easily beaten, nor should they be so powerful that they can only be defeated by random chance. In the Sherlock Holmes stories, Holmes’s arch-nemesis Moriarty is a brilliant criminal mastermind. Having a villain who is equal in skill and intelligence to your hero will raise the stakes of their encounters, creating a credible threat to your hero.

Put yourself in your villain’s shoes. When it’s time for your villain to act, put yourself in their place. Think about challenges or hardships that might tempt people to act out or behave badly. How do you react to bad things? Tap into those emotions and try to apply them to your villain.

Consider your villain’s motivation. Why does your villain want to rule with an iron fist? Why do they want to put the damsel in distress? As with your main character, determining your antagonist’s motivation can help you unlock other aspects of their character, such as their goals and their personality.

Source ⚜ Writing Resources PDFs ⚜ Villains

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“How was your sleep?” “Mm.. It was good. Better.” “Better how?” “Better because you’re here.” (THE WAY I GOT SO FLUSTERED WTF)

“That’s my girl/boy,” Character B murmurs in a hushed voice, stroking their fingers through Character A’s hair while Character A rests their head on their chest, trying to catch their breath. (THE SCREAM I SCRUMPT INTERNALLY, THE AUDACITY HE AUDACITIED??? WHAT THE FUCK??? EXCUSEEEE MEEEEEE??? BTW, SIR, HOW DO YOU LIKE YOUR EGGS IN THE MORNING-)

“Fuck, you turn me on so much with the noises you make,” Character B groans, thrusting their hips up into Character A’s and Character A whimpering softly at that. (Okay so I added the fuck at the start because it’s hotter this way bUTTTT WKGKSKFS PLSSSSS I JUST- OH MY GOD, I think I just realised that dialogue to me is SO IMPORTANT LMFAOOO)

“There are two hot things in this room right now: you, and the temperature.” (LET ME BREATHE, DAMNNNN) 

“Mmm, I’m gonna hog the bed so you can’t get on,” Character A murmurs, laying sprawled out on the bed. “That’s fine, I can just lay on you,” Character B says, making their way to the bed. “…Are you calling me a bed?” Character A questions as Character B gets on top of them, careful not to crush them under their weight. “Yeah, you're my bed,” Character B murmurs, snuggling close to Character A. (FUCKCKKCKXKDKKSKGKAKD HE’S JUST OUT HERE FLIRTING TO THE MAX WITH ME AND LEAVING ME SPEECHLESS TF)

“I told you my bed’s cozy,” Character B says, chuckling as they make their way over to Character A, who’s snuggled up under the covers. They pull the cover back and climb into the bed next to Character A, wrapping their arms around them. “And now it’s even cozier,” Character B murmurs into Character A’s neck. “Because you’re here?” Character A questions playfully. “Yeah,” Character B answers.

A laughter filled tickling play fight session somehow turning into them making out, turning into Character A straddling Character B, head thrown back in pleasure as they grind their hips against Character B’s while Character B holds onto their hips, thrusts matching the momentum of Character A’s movements.  

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Morning cuddles and kisses as sunlight spills into the room.

“I’m gonna fuck you so good once we get there, yeah?” (MY HONEST REACTION WAS LITERALLY “???” I JUST?? WHAT?? SINCE WHEN WAS HE- AND HIM SWEARING? HOT HOT HOT HOT WKGKAKS)

Character A taking Character B’s hand into theirs while they’re driving. “You can drive with one hand, right?” they ask with a little grin, and Character B chuckles and nods. “Of course I can.” (HIM DRIVING WITH ONE HAND IS SO HOT BYE)

Character B guiding the speed of Character A’s hips as Character A grinds against them. (can he PLEASE manhandle me-)

“Okay, I’ll let you tickle me wherever you want if you give me one kiss.” (He lied a few times AHAHA, dodged my attacks instead after I gave him his kisses bruhhh) 

Character B lending their clothes to Character A since Character A’s staying the night. (The way I smelled like him AHHHH)

The soft “yeah?” Character B would mutter in response when they’re messing around with Character A and noises would fall from Character A’s mouth, involuntarily.

Stopping their play fight every now and again to kiss each other. 

Character B flirting with Character A and Character A not knowing how to respond other than half groaning and half laughing and calling them insufferable (affectionately). (Like I said, I’m romantically constipated-) 

Character B laughing every time Character A calls them annoying and insufferable whenever they flirt with them. 

Character A leaning in to kiss Character B… And then using that opportunity to tickle them when Character B’s guards are down. 

Them just laughing with each other at the dumbest shit until they’re out of breath; finding comfort and joy in each other’s company. 

Character A teasing Character B with how ticklish they are on certain spots. 

Character B tugging at the hem of Character A’s top, wanting to take it off, but Character A shakes their head and Character B immediately respects that by backing off a bit. (I’m including this because I don’t think people understand that any signs of no means no. Some people need to take notes for real)

“So… Are you going to stay over tonight?” “…Mm, maybe next time.” “You always say next time, though.” (EWLKNFWELN He really wanted me to stay, and I clearly folded so um pwnfewklnf) 

“I’m sorry if I’m like… Slow with all of this? I’m not experienced with any of this, and I don’t know what I’m doing. And I don’t think I’m ready for… You know.” “And that’s fine. Like I said, we’ll take it slow; we’ve got all the time in the world to get comfortable with each other, hm?” (WHEN I SAY I WAS GOING WEKJFNEWJKNEWFLN WHEN HE REASSURED ME, I LOVE HIM SO MUCH AHHH)

Character B climbing back into bed after taking their morning shower to get more cuddles in with Character A before they have to go to work.

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Hugging each other a little tighter, and Character A mumbling, “God, I really don’t want to leave” before they part ways.

“The way you keep running around in my mind everyday… How dare you?” Character A mumbles. “Well, is there a problem with that?” Character B questions with a chuckle. (I’m bold for this one, praise me LKNEFKLNWG)

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“Aren’t you going to get up now? You gotta get to work,” Character A says, poking Character B’s side. “Mmm, five more minutes,” Character B murmurs, pulling Character A closer to them. (HE’S SO CLINGY AND I LOVE IT SO MUCH AHDFOEKNF)

Character A realising they might actually be falling in love, slowly but surely, with Character B. (YEAH SO THIS IS A REVELATION AND A HALF AND IDK HOW TO FEEL ABOUT IT) 

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Men who look like they haven’t felt the touch of a woman. (they haven’t) They develop a crush on you. Men who look at you with doe eyes, ready to please. Men who will do anything if you asked. Men who shiver when you whisper in their ear. It can be anything, but the feeling of you getting close— fuck they’re goners. Men who imagine you in ungodly ways, all of this new to them. Men who are on the verge of crying because they are so sexually frustrated.

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Men who whimper when you finally touch them. Guttural grunts and moans, whines and whimpers— all a part of the melody they let out just for you. Men who look up at you with expectant eyes, wanting–no needing you to praise them. We’ve already established that they love your voice, so throw in a ‘good boy’ or ‘you did so good baby’ and their brain stops functioning.

──────────────────

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Ethan Landry, Sub!Miguel O’Hara, Simon Aumar, Harry Potter, Yuta Okkotsu, Tyler Galpin, Bucky Barnes +your favs!

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