Why Does the Villainess Like the Heroine?

[Lafayette]

I'm stuck.

Recently, I realized my villainess was too one dimensional. I have established the fact that she is the type of person that believes that the world needs to revolve around her and gets pissed when it doesn't.

In her first direct confrontation she is met by a healer (the heroine) that has come to ask her to undo a plague spell. She refuses because of rejections. The heroine sympathizes with her by telling of her own past rejections. The antagonist gives token sympathy. In the end she tries to kill the protagonist, because she deems her too inadequate to serve. She then leaves the scene. The heroine is knocked unconscious and is severely wounded. However as she blacks out she hears the villainess crying ,“I’m sorry I didn’t want to do it I didn’t want to do it.”

I like this idea, nonetheless I can't give the reader a good reason why she is sorry.

Would a person that is totally stuck on themselves be able to find anything worthwhile in others?

Any ideas or insights will be welcome.

 

[Victoria Silverwolf]

It's a little hard to say from this brief synopsis, but my first reaction to to say that both characters should be made complex. Perhaps the heroine has done something similar (but maybe not quite as bad) in her own past, and thus feels some guilt over what the villainess is doing, as if she were partly responsible. Maybe the villainess sees something of herself in the heroine, and regrets what she has become.

Just one possibility.

 

[Lafayette]

Maybe the villainess sees something of herself in the heroine, and regrets what she has become.

Just one possibility.

Now that is a possibility. Thank you.

 

[Toby Frost]

Would a person that is totally stuck on themselves be able to find anything worthwhile in others?

My short answer would be "no, they can only appreciate themselves". However, maybe she's not totally stuck on herself. Like Victoria, I would say that the heroine reminds her of herself, at some earlier and better time, or perhaps of some other person who meant something to her. However, I suspect that someone who is a complete villain and has lived their life as such is very unlikely to care, as they will have internalised everything they've done as right and everyone else as either a nuisance or a means to an end. I think that having the villain actually speak here makes her seem very conflicted and, as villains go, weak. A stronger - but still sane - villain might think "Well, it's a shame but it had to be done". So I suppose the question is whether this villain has actually got any good in her at all.

It's possible to be villainous and care about something beyond yourself, of course. In the fantasy novel I've been writing, one of the major villains is basically a mum: partly because it doesn't fit the usual stereotypes of female villainy, and partly because her ambition is to found a dynasty, and hence her children are very important to her.

Also, a character who was totally villainous might end up in a position where they seemed more human than they were. A character who had no ability to care about anyone except himself might, say, quite like having a child, because it would enable him to look more sympathetic in the eyes of others, and get some advantage for himself out of it.

So I think it boils down to how evil this character is and, as such, what role she's going to play.

 

[HareBrain]

I think we hold fictional characters to a higher standard of consistency and explainability than we do real people, and this can lead to characters whose attributes are easily defined and understood, but perhaps a bit one-note or simplistic.

If your gut feel is that she does this, even though you can't explain it, I'd go with it. The reader doesn't need a reason as long as it feels true to you. Maybe the explanation will come later, maybe not. People can act with apparent inconsistency in real life, and rather than think they're badly constructed, we assume there is a reason that makes them complex. We can't (usually) see inside their heads and so can't know otherwise.

If you only want her to do this because it serves the plot, then yes, you need a reason. And that might well change everything you write about her.

 

[Plucky Novice]

I don't know how serious your book is but what if your villain is addicted to killing, knows it is bad but is struggling to shake the habit?

You could then ask why she is trying to stop which may be an opportunity to add some depth and complexity to her character.

 

[Joshua Jones]

Yeah, there are many different options here. The basic causes of affection are lust, kinship, familial love, and romantic love. These can and do overlap and morph into one another, but any of these may be suitable for the situation you outlined. I do like the kinship type options by @Victoria Silverwolf and @Toby Frost, both of whom are vastly more accomplished and capable writers than I, but depending on how you want your story to go, it seems like any of these options could be viable.

I also completely agree with Victoria that both characters need to be complex. The protagonist and antagonist are arguably the most important part of the story, so both of these need to be fleshed out carefully and completely. Of course, I have all confidence you will do both!

 

[ginny]

If you don't understand it:
Your character doesn't understand it.
Most likely at this point the reader doesn't understand it.

That's not really bad:
However you should figure it out and unfold the truth in a way that gets awe from the reader.
It will likely just as much get awe from the character.
Then everyone will understand it.

That much said, there are elements about specific friend I have that have left me feeling ill at ease though at the same time I still consider them a friend--however usually at arms distance because the behavior is self destructive, though I have never attacked them.

However if someone is very similar--such as a sibling; there may be times where you see so much of yourself in them that you both admire and want to slap them; because they have the same flaws as you. So I agree with those that say she might see a bit of her self there--however my point is that the emotional impact can go both ways.

 

[Boaz]

Does your villainess know that she's a villain? If not, then she's probably justified all her actions to be needed or helpful. Then she may apologize, but not mean it. If she does know that she's the villain, then she'd probably blame the healer for the whole incident.

Does your villainess think she's actually the hero? If yes, the hurting the heroine may not be justified and she's apologizing for attacking an innocent (or unarmed) physician.

 

[Lafayette]

My short answer would be "no, they can only appreciate themselves". However, maybe she's not totally stuck on herself. Like Victoria, I would say that the heroine reminds her of herself, at some earlier and better time, or perhaps of some other person who meant something to her. ... A stronger - but still sane - villain might think "Well, it's a shame but it had to be done". So I suppose the question is whether this villain has actually got any good in her at all.

So I think it boils down to how evil this character is and, as such, what role she's going to play.

I am following Victoria's suggestion in that the heroine subsconciously reminds the villainess of her younger, but dead sister. Also she looks upon the heroine (who is sick) like a pet parrot she had. It was sick and had to be put away

 

[Lafayette]

SORRY I GOOFED HERE.

I think we hold fictional characters to a higher standard of consistency and explainability than we do real people, .. That is an interesting statement.

If your gut feel is that she does this, even though you can't explain it, My gut feeling was telling me I had to explain it at least to myself

.... Maybe the explanation will come later, maybe not. ... Now that I have thought of it I can go back to a previous scene and I can either explain it to the reader or give them a clue.

People can act with apparent inconsistency in real life, and rather than think they're badly constructed, we assume there is a reason that makes them complex. That is so true. I even find this quirk with myself. If we do this too often or blatantly we are guilty of hypocrisy.

|/QUOTE]

 

[Lafayette]

I don't know how serious your book is but what if your villain is addicted to killing, knows it is bad but is struggling to shake the habit? ... She is not into killing for the joy of it, but because she is obsessive of getting rid of anything that doesn't serve her needs.

to add some depth and complexity to her character. ... That is one of my goals.

 

[Lafayette]

Yeah, there are many different options here. Now that I have been thinking about it you are correct..

I do like the kinship type options.. I think it it makes a stronger dynamic for conflict.

@Victoria Silverwolf[/USER] and @Toby Frost, both of whom are vastly more accomplished and capable writers than I,
What have they written? Perhaps I can learn something..

Of course, I have all confidence you will do both! That is mighty nice of you to say, especially since you don't know me. Or do you?

 

[Dragonlady]

Are you certain she means she's sorry, and not just trying to manipulate like a narcissist?

 

[Lafayette]

If you don't understand it:
Your character doesn't understand it.
Most likely at this point the reader doesn't understand it.

I'm going to have to copy and paste this on my desktop.

That's not really bad:
However you should figure it out and unfold the truth in a way that gets awe from the reader.

I agree with needing to understand the villainess, but not to sure about the awing part. How do I awe?

However if someone is very similar--such as a sibling; there may be times where you see so much of yourself in them that you both admire and want to slap them; because they have the same flaws as you. So I agree with those that say she might see a bit of her self there--however my point is that the emotional impact can go both ways.

Recently, I've come to a better understanding and sympathy for someone by seeing my traits in them.

 

[Lafayette]

Does your villainess know that she's a villain?

I don't think that the thought has occurred to her. If you asked her she probably tell you that she is a sweetheart deep down and what she is doing is necessary.

Then she may apologize, but not mean it.
In this scene she means it.

 

[Lafayette]

Are you certain she means she's sorry, and not just trying to manipulate like a narcissist?

No, she is sorry. I want her that way, because if she isn't then she'll be one dimensional and I'm trying to get away from that hack trait.

 

[Lafayette]

Thanks to all of you. I was stuck in the mud of "Duh, what do I do now?" and you pulled me out.