The Villain in the Story by Victoria Chatham

AVAILABLE HERE

I write historical fiction and was so pleased to co-author with Anita Davison on Envy the Wind, Book #11 in the Canadian Historical Brides collection. My preferred genre is mostly-sweet Regency romance but even in a sweet romance, there needs to be some issue to create conflict for the characters because, without it, there really is no story. Think of a piece of string. If it is laid out flat, it is boring, uninteresting. Nothing is happening. Now imagine there are several knots in it. Who tied that knot and why? Why did they choose to tie the knot in that particular place in the string? The whole picture changes.

In the same way that we construct three-dimensional characters for our heroes and heroines, our villains,

if they are to be credible, need to be three-dimensional too. It isn’t always the guy with half-shut left eye or scarred cheek who is a villain, nor the woman with perfect make-up and too-white smile. Just as our H/H’s come in all shapes and sizes, so too do our villains. Making them credible comes from creating their backstory just as you have

done with your H/H.

What happened in your villain’s life to make him/her the way they are? Just as the branches on a bonsai tree are formed and shaped with wire, so a villain’s character is formed and shaped by the circumstances he/she grows up in or by what happens to them. You only have to look at some of Disney’s villains to get the idea. Think Maleficent, who is betrayed by her lover Stefan’s ambitions to become king. To reach that end, he sets out to kill her, but at the last minute can’t do it so instead cuts off her wings. Easy to see why Maleficent became ticked off by that.  And then there’s Captain Hook, bent on revenge after Peter Pan cuts off his hand and feeds it to the crocodile. What about Scar in The Lion King? All the elements in those Disney villains are examples of how you can build your bad guys.

Villains walk like us and talk like us, for the most part. They can be intelligent and likable, the veritable good guy. People (your readers) quite like him when he’s on the page, maybe mirroring some of the better characteristics of your hero. He’s often kind, except that behind the kindness is the determination to get what he wants – usually at the hero’s expense.

While I have no problem creating a villain’s back story and showing some human element in them, I’m think I’m much better at making them more twisted than terrible, even though they might do terrible things. And the villain in Envy the Wind? I'm not telling. You'll have to read the book to find out!