J.B. Manas

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Battle of the Bastards: Anatomy of a Villain

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Ramsay and JoffreyA question on a writers’ forum got me thinking about villains again. Particularly: What makes a good villain?

A quick look at Game of Thrones serves up some perfect examples. For anyone who has watched the show, it would be hard to argue that Joffrey Baratheon and Ramsay Bolton aren’t two of the most hated villains in television history. And Cersei Lannister has been running pretty close, though arguably with slightly more sympathetic traits.

What makes them so hated?

For a hint at the answer, let’s look at another popular series, this time in the movies: Harry Potter. This series, too, has one of the most hated villains of all time. And no, I’m not talking about Voldemort. I’m talking about Dolores Umbridge, who even overshadows “he who shall not be named,” not an easy feat.

Why is this? What makes Joffrey Baratheon, Ramsay Bolton, Cersei Lannister, and Dolores Umbridge so darn hateworthy? Sure, they do bad things to those we like, but is that it? Not really. Others also do bad things to those we like, but we don’t necessarily hate them.

I would argue that, paradoxically, what makes a strong villain is weakness.

Yes, you heard that right.

Think about it. All four villains I mentioned have no significant strength of any kind. One strong person could arguably defeat all four together in a fight within 30 seconds. But each of them is exceedingly powerful and difficult to defeat.

These devious weaklings abuse their power, they foil things for the heroes, they come across as “bigger than their britches,” they often achieve their positions unjustly, and they annoyingly get away with their actions in sneaky, calculating ways. And of course, they do bad things to people we like, sometimes smiling as they do it.

It’s the same with Doug Stamper in House of Cards, possibly the most hated character on the show. Or President Snow in The Hunger Games. Or the kid, Olly, on Game of Thrones. None of them have any particular power, but they’re put in positions of advantage that they exploit to the hilt.

There are exceptions, of course, but by and large, many of the most hated villains are weaklings with an unfair advantage and a lack of empathy.

Just a Pinch of Sympathy and Humor

Of course, just as a little salt can help a recipe but too much can destroy it, a few sympathetic traits, minor backstory elements, and even humor, can add depth to such characters. But too much, and you risk making the villains likeable or sympathetic, which isn’t a bad thing in itself, but may not generate the hatred you want for them. It’s more an art than a science—a constant balancing act.

What About That Battle?

Speaking of the “Battle of the Bastards” in Game of Thrones, from which this post gets its title, think about that particular battle. Ramsay Bolton (the villain) vs. Jon Snow (the hero), both allegedly born out of wedlock.

What makes them different? Both were ostracized to varying degrees because of their lineage. But they couldn’t be further apart in terms of their outlook on life.

I believe what separates the villains from the heroes are three things: the choices they make, how they choose to let their past impact them, and their general nature. For the writers out there, these are all things to think about as you craft your villains. And for fans, think about your most hated (or most liked) villains and what makes them so.

I’d love to hear from you all as to who your favorite villains are and why?

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#amwriting #screenwriting #GameofThrones

La La Land – A Thriller Writer’s Perspective

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lalalandI went with the family to see La La Land yesterday. They may as well just give it the Oscars (plural) now, because this one’s an instant classic, folks.

I was hesitant to write about it here because, after all, I’m a writer of sci-fi thrillers. But I’m also a lover of all things storytelling and an admirer of all forms of art and music, especially that which is done to perfection, which this is.

And yes, there are some lessons in this movie even for thriller writers.

La La Land is a magical, musical tale of two star-crossed lovers, an aspiring actress and an underemployed jazz pianist, trying to make ends meet and achieve their dreams in modern day Los Angeles.

This mesmerizingly beautiful film is an ode to LA, just as Woody Allen’s Midnight in Paris was an ode to Paris. But it’s also an ode to artists and creative types everywhere who are struggling to achieve their dreams. Likewise, it’s an ode to young love, trying to stay vibrant and alive when individual dreams threaten to get in the way. And it’s an ode to the great MGM musicals of the past, a daring aspiration that it achieves with honors.

The film is a stunning work of art, at times reminiscent of such Gene Kelly classics as An American in Paris and Singin’ in the Rain. However, it reminded me even more of another landmark film—The Umbrellas of Cherbourg, musically, visually, and thematically. La La Land even has a few nods to “Cherbourg,” including, if I’m not mistaken, a quick shot of the umbrella shop.

Not to be overlooked are the show-stopping performances from Emma Stone and Ryan Gosling, both of whom illuminate the screen like the stars of old—especially Stone, who emotes with her eyes and facial expressions like no other, aside from maybe Jennifer Lawrence.

As for valuable lessons that writers of thrillers and other genres can glean from this blissful example of filmmaking perfection, here are but a few:

  • Vivid worlds and motifs can elevate a story to new heights – In this film, Los Angeles itself was a character, and an important one at that. As a writer, in what ways can you bring your story world to life, whether by its culture, it’s sights, smells and sounds, or its threats and opportunities?
  • It’s all about the characters and their wants and needs – Whatever your plot, if the character wants and needs aren’t clear (and often, they have no idea what their real needs are), everything else will be diluted. It’s the struggle between their wants and needs, their external and internal desires, the lies they tell themselves and the truths they need to learn that truly drive a story.
  • The antagonist doesn’t always have to be a villain – Every story needs conflict. In this story, the primary conflict came from the two artists’ struggles in the often cruel world of LA, compounded by their individual internal struggles trying to balance their dreams with their relationship. Of course, some genres typically do include a human antagonist, but even then, adding the internal obstacles, obstacles from the environment, and moral dilemmas can enrich the story that much more.
  • Stick with your dream and stay connected – If nothing else, take away the lesson from the film that we only live once. Don’t give up your dreams, Stick with it. And in the process, remember not to lose sight of what drives us to begin with—the need for connection and love.

Bottom line: Whether you typically like musicals or not, La La Land is worth seeing as a shining example of a powerful and all-too-rare work of original art that will take you away to another world for two hours. I urge you to take a chance and see it.

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#LALALAND #moviereview #screenwriting

 

Empathy – An Essential Trait for Writers

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Hemingway on EmpathyIt’s occurred to me that the singular trait that a writer needs above all is empathy: the ability to put yourself into the heads of your characters AND your readers, and really understand them.

Understanding Your Characters

Here’s what empathy feels like.

Your character is facing a given situation or entering into an environment. You’re writing from his/her POV (point of view).

When writing a scene, don’t think about how you would react or what you would be thinking. Think about how your characters would react, and what they’d be feeling, given their background and perspective.

Focus on their observations and attitudes about what they’re seeing and experiencing, not just the “authorly” description of the environment. In fact, remove your voice and opinions entirely and insert your POV character’s perspective. Also keep in mind how other characters in the scene would react individually. Just beware of head-hopping. Stay inside your POV character’s head the whole time, and only describe what others are doing/feeling through your POV character’s observations.

Think of it this way. Every character is a product of their environment; their upbringing; their genetic makeup; their history; their culture; their natural strengths and weaknesses; their past trials and tribulations; and a hundred other variables. And each of your characters may not only react uniquely, but may conflict with one another. In fact, it’s great if they do. Half the battle is creating a group of offsetting characters that are assembled for built-in conflict (it’s what makes every sitcom so great).

Empathy is the ability to understand all this, and to put yourself in their shoes, with their eyes, and with their history, even if that history isn’t included in the book.

Even villains are deserving of empathy. As the adage goes, every villain is the hero in their own mind. As a writer, it’s key to understand and appreciate that, and offer hints of that to the reader.

Speaking of readers, it’s just as important to understand them as it is to understand your characters.

Understanding Your Readers

As a writer, you’re also a marketer, which means understanding the trends and reader demographics for your genre. And as every marketing professional knows, it helps to know who your target audience is, their general preferences, and how they might react favorably or unfavorably toward a character or situation. In other words, as you’re writing, you should always be thinking of how you want the reader to feel during that scene.

To this end, it’s imperative to understand the principles of surprise, suspense, and conflict, and how people react to each.

Alfred Hitchcock was a master at this, often stating that, above all, he focused on what he wanted the audience to feel at any given time. Plot and pacing were always in support of the journey he wanted to take his audience on. For example, in Vertigo, he went against common practice to reveal a big secret to the audience BEFORE the ending (and, more importantly, before the protagonist knew), so they would be in suspense wondering if the protagonist would catch on or not.

Hitchcock also spoke frequently of surprise and suspense, often using a tableside discussion analogy. It goes something like this:

Two people are sitting at a table, talking. A bomb goes off. That’s surprise.

Two people are sitting at a table, talking. The bomb doesn’t go off (though the audience knows it’s there). That’s suspense.

Hitchcock’s point was that surprise lasts for a few seconds, while suspense can keep an audience glued for quite a bit of time. The two parties at the table could be having the most mundane conversation, and it would still be exciting.

Of course, that’s about the only time it’s okay to have a mundane conversation between characters. Aside from that, characters should rarely be in agreement. A key lesson here is: Turn conversations into arguments or debates. Your readers will thank you.

The bottom line here is that empathy, the ability to understand others and put yourself in their shoes (especially your characters and your readers), will take you far–in writing and in life.

#amwriting #writerslife #writingtips

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