The Flawed Villain

 To say a villain in a thriller story is flawed is like saying coal is black! Of course a villain is flawed, I hear you say, otherwise he would be a pretty poor antagonist. A good villain has a personality that most of us would not aspire to as he may be capable of the most dastardly acts. I am however talking about a villain who may be flawed because he/she has some decent human traits that show us he isn’t totally bad. The only villain who could be said to be totally bad is the devil himself, I guess. Most others started out as innocent babies and children but maybe something happened to make them bad. Or maybe not – maybe they simply have more of the undesirable human traits in their genetic make up. Nasty traits do exist to some extent in all of us, but hopefully most people have control of those urges and anyway have more humanity and caring for fellow humans. 

How villainous a character is depends mostly on the type of story you are writing. If it is a love rival or a corporate executive he may not be so nasty in all areas of his life but on the other hand if it is a horror/supernatural villain he may have no redeeming features. For example a bad character may be wicked and malicious to people but may love animals! In this way he is a flawed character and not true to the caricature of evil which we may assume him to be. 

Always, when using villains, a suitable adversary/hero is necessary and it is the juxtaposition of their characters that allow the most conflict and tension in a story.  The hero who has faults is a much more interesting character than the perfect boring type of individual. I think we can relate better to  
him because he is flawed – as we all are too. Similarly, we all know people who we consider to be horrible individuals but we know (maybe deep down) they will have some redeeming characteristics too.
For me, giving my villains one redeeming human trait, amongst all the vicious, nasty ones, makes them much more interesting ( and indeed fun) and if their malevolent ways came about because of something that happened to them – well, it just makes them all the more intriguing. Not nice and not worth rooting for but maybe a little more human.

Do you give your villains redeeming traits?

Write like a film director?

One of the things I found hard to get to grips with when I first started writing thrillers was the idea of tension or conflict on almost every page. ‘What, every page,’ I asked myself? Surely not…

But then I realised that the kind of reader I was aiming for wanted and expected a thriller to be a fast-paced page turning epic that took them on a roller coaster of a ride until they came to the satisfying ending. Okay, perhaps not always that fast, but it is definitely a different kind of read from a literary, Jane Austen - type story.

One reason for this is that nowadays readers are also used to watching movies and TV that fast cut to the action and leave little in – between. When I am writing I visualise every scene as if I am watching a film and I cut in and out as if I’m a film director.

I am not saying that all types of fiction should be like that – far from it - but if you are going to go with a genre you’d better give it due thought. As to veer away from it, is bound to disappoint readers who expect a certain kind of read with a certain kind of genre.

Seeing my story as a film may not always work out well but it gives me a way forward, at least. I also try to infuse each scene with some degree of tension even if it is only a character’s inner thoughts which may be in turmoil. There are of course, other things that can add to tension such as setting, weather and bigger picture happenings (e.g. war, plague or world events).

Scene and chapter endings are also places where tension should be enough to ensure a reader continues to read - in other words, the cliff hanger ending. Not always easy, but one way is to leave a scene early in the middle of conflict (and sometimes switching to another point in the story) so that the reader must continue to read to find what happens.

All if, buts and maybe’s you say… But that’s how I do it…

So what about you? Do you cope well with tension and conflict in your writing?

 

Target practise?

Target practise

One of the things I slavishly try to follow is word counts. I can no more give them up than I can just eat one small square of chocolate!

I set a target for the week and then for each day depending on what else may be required of me in terms of the rest of my life, and then I go for it! You’d think that would be great, eh? Not a bit of it. You see for me it’s all or nothing… If something gets in the way and I have less time, I will abandon the day. It’s a case of ‘have a chance of getting there or not bother at all’! Can’t be healthy can it? Once I start however it would have to be a pretty serious emergency for me to forgo my target and settle for less.

 In my defence, I am generally realistic with what I can achieve – I learnt a long time ago that not being realistic was a sure fire recipe for disaster and next to know words done at all!! My method does get me there though so I have learnt to trust my instincts and respect my need for targets.

I think it may be the ‘tick off’ bit of my psyche that controls this. I love’ to do’ lists and can’t help but experience a sense of achievement when I tick something off. The word count sheet is similar and I feel satisfied when I can tick off that I made my target. Mo matter if the actual words are total garbage!! As someone said, elsewhere, you can’t revise or edit something you’ve not actually put down on paper. Now that’s another story…

 

So do you make word count lists (or time spent lists) and then stick to them?

Foreshadowing.

To foreshadow, according to my dictionary, means showing or suggesting an event beforehand. It is a fabulous thing to use in thriller writing and it can be used as much or as little as you like. It can be a very slight hint or could be a full scale seeing the future in some form or another.

In terms of gendering suspense, I think it is invaluable. It signifies to the reader that a particular thing is important and it raises tension so that the reader keeps the pages turning. I think foreshadowing is used to some degree or another in all romantic thrillers. It can be as subtle as an atmosphere or as obvious as a piece of information or an object of interest.

As writers we may shorten sentences and paragraphs, speed up speech and ratchet up the action to indicate that things are rising to a climax or something important is about to happen.  In films, we are all familiar with the notion of background music telegraphing turning an ordinary event into something sinister. This too is foreshadowing although one could think of it as creating a sense of foreboding.

The main thing about foreshadowing is that we use it early in a piece of fiction and then deliver on the promise later in the story. It is a skill that takes a degree of practise, I feel, in order for it to not appear obvious. The reader should have an ‘ah ah!’ moment later in the story and it should come as a bit of a surprise - if it’s done correctly. But one that when they look back, they see it was correctly done and they were not hoodwinked. The other thing is that if, for example, you show a gun early on in a story the reader will expect it to go off at some point later. So then you are using reader expectation to foreshadow and event for later in the tale.

So is foreshadowing another tool to make fiction enjoyable? I think so… 
 

 

So, do you use foreshadowing in your writing? Do you find it easy?

Emotive or What?

Emotion.

When out with friends for a chat and catch up, we often talk about the books we have read (or not read as the case may be).  My friends sometimes think I’m a bit ‘nuts’ as I tell them I often don’t finish novels.

I am a person who hates to waste time so I will only carry on reading a book if the writer has caught me up in a story (involved me emotionally). If I am not enjoying a book I will cast it aside and not waste further time on it. It doesn’t even have to be a really bad book for that to happen – it may simply be that it is boring me a bit. I know that sometimes if I continue it will get better but why should I bother when there are so many other juicy books to get stuck into. On the other hand I know people who will persevere with a book – provided it is not that bad! The engine that turns so-so fiction into well-loved and remembered books? Emotion!

When I ask friends what a book is actually about and they cannot remember I know it wasn’t that good. For me the plot has to hang together well and the story must engage some kind of strong emotion in me. Whether that is horror, happiness, sadness or sorrow, an emotion of some kind must be there. When I think back to books I read as a child/young woman I find it is the emotion I remember most clearly about the story.  
 

I generally judge a good book by how well I can remember it weeks later. If it truly stays with me, I know it was a great book. One such novel in recent months was “The Incredible Pilgrimage of Harold Fry”. That book almost brought me to tears at the end and I can remember most of it even though I read it a while ago! Whereas the one I read last week was fairly good but I can’t remember it without a prompt!

 Do certain stories have a big impact for you?

Playing the Name Game

What is in a name?

Am I the only writer who agonises over names for days on end?  I guess I find it difficult because I think names are so important in characterisation. They give the reader clues as to what kind of person they should expect. It may seem arbitrary as we are all given names by our parents - when they have no idea what sort of people we will eventually turn out to be.  Then again, many parents agonise over their children’s names too! We give children names and then hope their characters turn out to be what we would want for them. But in the world of fiction we try to choose names that suit the character we are trying to create.

For instance, age and era play a big part in my choices. A woman who was born early 19^th century would not be called Rhianna or Stacy. Just doesn’t ring true, does it? But Arabella or Victoria does. The age of characters is also important in deciding names. I can easily imagine an older man called Hector or Jeremiah but not a young boy. I think most readers meeting a character with these names would automatically have in their mind’s eye and older man even before any physical description is given.

Whether your character is the antagonist or protagonist is also important in naming. Although sometimes one might want to increase surprise by giving an evil character an innocuous name… I think it depends on how you are trying to present your story.

Male heroes names tend to be strong masculine names – they are not usually called Fred or Bert - but female heroines may also be strong ‘no nonsense’ names too. I wouldn’t choose a name like Ophelia or Primrose if I wanted my heroine to be seen as strong and capable. But then again, it is all a matter of personal choice… In fact, the more I think about it, the more I like Ophelia!!

When we are introduced to people in real life we may be told their names but it is not the only information we have of them. We can see how they behave, what they look like and hear them speak. We can make judgements about what sort of person they are (although we may turn out to be totally wrong, of course!)

But in writing fiction we have to give a strong first impression by words only to have the reader ‘see’ our character in their mind’s eye. I believe this is why names are so important. My two latest books had numerous name changes before I settled on names I liked.

In ""The Afterlife of Darkmares" all the character's names had something to do with gardens or countryside. It simply made me think harder to come up with names. For example the old lady was called Cora Gimbletree and the main character's was Kate Linden. There was also Redwood, Culpepper, Garford and Blackthorn - surnames of other characters. It also helped that the story was set in a small village in rural Derbyshire.

By contrast The Witcheye Gene had modernish names such as April, Gregory and Vince. However the main character was called Kendal ( which had a backstory all of it's own) because her parents were in Kendal Cumbria when they discovered they were having her. But I chose carefully for the name of the villain... I cannot tell here as it would spoil the story...

How much importance do you give to naming your characters? Do you agonise or go with the story and change the name later to fit the character?

INTRIGUE

"Society bristles with enigmas which look hard to solve. It is a perfect maze of intrigue."
Honore de Balzac

 

Intrigue - I just love this word.
It conjures up a misty twilight kind of world for me as I associate it with mystery and skulduggery. Almost a Sherlock Holmes kind of world in my mind… 

Maybe that is why I tend to think of it as a kind of old fashioned word which is rather less used nowadays. It suggests a halfway stage between outright puzzling questions and curious, rather vague, passing fascination with something or other.

When I looked ‘intrigue’ up in the dictionary, I found it can in fact, mean a puzzle or questionable scheme. But interestingly it can also mean conspiracy, double dealing, trickery and even, of course an affair.

n writing romantic thrillers it is unquestionably the raising of interesting questions and mini puzzles of the ‘will he/won’t he succeed’ variety that make up the entire plot of an edge of your seat thriller and a romantic read to boot. In other words the story must intrigue the reader from start to finish and that intrigue should rise to full on tension as the conflicts escalate and the hero get’s into worse and worse trouble.
So when I write my novels, I start with some intriguing questions (enough to pique reader interest, I hope) and pose some attention-grabbing dilemmas but then things get rough!

A good dollop of skulduggery helps as does some trickery on the part of the villain. Together with a spoonful of double dealing and a large splash of romance you have the recipe for a darned good roller coaster read.

Do you use intriguing questions to pique the readers interest at the start of a book?