 Drama: April 23, 2014 Issue [#6288] |
  Drama
This week: Confrontation: Hero vs Villain Edited by: zwisis
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You've reached the climax of your story. Your hero has overcome great challenges and issues to get to this place. He's about to meet the villain, an individual he's been chasing/hunting/seeking since your typed your first sentence. You've created two unforgettable characters and build your story to this point. Their first confrontation, or maybe their last. Everything you've written up to this point has been for this meeting. Now more than at any time in this story do you need to stay focussed, keeping your readers entralled and ensuring they are not disappointed. Here's a few guidelines to help you maintain your momentum. |
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The Place.
Where do they finally encounter one another? The venue for the meeting can add atmosphere and really build tension and expectation for your reader. Enhance the descriptions of the place, emphasising light, darkness, foliage, windows (or lack thereof), lock on doors, fires burning in the fireplace, the stainless steel units in a clinically clean kitchen...
I’m currently reading Lee Childs’ second Jack Reacher novel “Die Trying”, and the final confrontation takes place in a long abandoned forested area, so there are no real up to date maps on the place. Childs goes into great description of the place, using phases to emphasise the lush foliage, the old claustrophobic mine shafts and the utter loneliness of the place.
The Weapons.
What tools does each have for the battle? Swords are often imbued with magical powers, but you can use knives, bombs, guns and other manmade devices designed to cause injury and death. Perhaps the villain has an armoury at his disposal, leaving the hero to rely on the skills he learned during his time in the army... as is the case in “Die Trying”.
Not all confrontations are battles to the death. Sometimes the hero and villain are meeting across a business desk, so they’re more likely to pit their wits against each other. Perhaps one knows about dirty deals in the other’s past, or can threaten blackmail. Perhaps the villain wants to purchase something that will change the world and make him the most powerful person on Earth. Maybe the hero needs to beg the villain to do something
The Assistants.
Perhaps the villain has an army at his disposal, or friends with powerful connections. He may also be a loner, with a brilliant mind able to manipulate others – think of Hannibal Lecter, psychiatrist and master manipulator of his patients’ minds. Sometimes villains are in control of a cult, with followers that will follow his every command without question. The villain in “Dye Trying” leads a group of people wanting their own country independent from the USA. Anyone who opposes him is dealt with ruthlessly, while those who support him follow him blindly. Without question.
The hero may have a few loyal friends, ready to help and protect him should the need arise. Maybe he has a wife, partner or sibling who would give his life to protect his friend. Sometimes a former “devotee” of the villain changes sides, and allies himself to the hero. Don’t forget the assistants – they can really help build the story and the central characters by bringing in their personal beliefs and motives.
The Emotions.
I’ve said it before – dialogue is one of a writer’s greatest tools. In a confrontation it can really add tension and drama to the scene. The protagonists can discuss their rivalry, making witty, sarcastic remarks, reminding one another of past mistakes and bad judgements. Make them mock one another, expressing emotions as they try to get underneath each other’s skin.
Perhaps the villain stole the hero’s wife, partner or best friend from his side, or perhaps he harmed a loved one so badly it pains the hero to think about what happened. Did the hero steal something vital from the villain? Constant reminders of grudges, wrong-doing and vendettas make for great confrontations. Example: in “Die Trying” the villain kidnaps the daughter of one of America’s top military generals. She’s also the goddaughter of the US President, and he threatens terrible methods of torture if his demands are not met.
The Action.
Sometimes an outright brawl or gunfight is all that’s needed to resolve a conflict situation. While there are cases for a quick solution sometimes that doesn’t make good reading. Make both opponents capable of winning, but keep the outcome in doubt for a while to increase suspense. Both sides can engage in conflict, falter and retire to plan a new strategy. Then get them to try again, with injuries, staggering and stumbling... keep this going until you’re ready to end the conflict.
Don’t have them think up too many strategies otherwise the reader will get bored. Each strategy should be different to keep the approaches fresh and maintain your readers’ interest. Use physical and mental exercises from both parties to vary the action.
The Twist.
If the story calls for it this can be a great tool in a conflict. Perhaps the hero and villain secretly care about each other, and are being manipulated by a third party. Maybe they’re not actually responsible for the reasons behind the conflict, and the real enemy is watching the conflict unfold from the sidelines. Perhaps one of the minor characters reveals his true self before destroying both hero and villain.
Sometimes a great twist can be for the reader to discover the hero is actually the villain and vice versa. The villain may also manage to get rid of the hero for a while using a hidden tactic the hero didn’t realise his enemy possessed. The hero returns, ready to tackle his enemy with renewed vigour once he’s recovered from the initial twist. In “Dye Trying” the villain captures Jack Reacher early in the story, but doesn’t realise just how skilled a soldier Reacher is until halfway through the story.
The Drama.
Make sure the confrontation fits the story. Establish the reasons for their dislike of one another early in the story. Their first encounter should be a simple, not too violent and not too confrontational. Build the anticipation slowly and vary the action/interaction. There’s no point in having every meeting a full on attack, causing injuries that have to heal before the next meeting. That’s just boring.
Again I refer to “Die Trying”. Each time Reacher and the villain meet it’s in a different place and under different circumstances. The first time Reacher is threatened for being in the wrong place at the wrong time before being shown around the village. After being challenged to target practice by the villain, he is told he’s going to be used by the villain to deal with the FBI. Then he’s tied up and forced to escape using mental skills on his weak-minded guard. I’m 82 percent through the book, and Reacher is now being hunted by the villains’ men and his dogs...
To be continued!
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| |  | For Worse (E)
Slice of life drama about the sanctity of marriage and differences between men and women.
#1134273 by alanaluv   |
“I’m sorry, too,” she said. “I thought you loved me.” Her voice cracked at the word ‘loved’. She could feel the burning behind her eyes and the uncomfortable ball in her throat again.
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#1578161 by Not Available. |
With this inspiring thought in my head I turned to look at the hell spawn that had caused the most misery the world had ever known.
“There no one out here.” he tells her “Why don’t you….”
“Shhh!” she once again says in a hushed timid voice “They’ll get us!”
| | | Invalid Item
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#828913 by Not Available. |
Tony is still awake and sitting at his desk. I can see him, but he is unaware of my presence. I began what I came here to do.
| | | Invalid Item
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#559856 by Not Available. |
And there, in the midst of the cavern, upon a massive column that rose from the bowels of the earth, surrounded by philters, crystals, and instruments of sorcery, stood him whom he sought, the drow Jordan.
Conner Riley moved his knight, spending a moment or two in contemplation before releasing the chess-piece from his hand. Seemingly satisfied, he spoke. "Your move, Mr. Reese. Excuse me, won't you? I'll refresh our drinks while you think."
| | Evil Wind (13+)
The Goldman Series I: A day of disaster and decision, Jack first senses his lifelong enemy
#1053523 by Jack Goldman |
The twisting wind formed a face as it approached. It struck the car, forcing it to join its waltz, to rock and sway.
And yet, as I entered each room, there was no such discovery. Was I imagining all of this? I could no longer discern the smell.
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Quick-Quill 
I took up the challenge to expand my ability to infuse fear or anxiety into my stories. I wanted to be able to write emotion so I chose to write Horror. What better way to challenge yourself. Other than heartfelt emotion "A Wise Father" which brings tears each time I read it, horror is drawing out words to represent a basic emotion tied to many situations.
I agree - writing in the Horror Genre is a great way of using emotions... all emotions. You can use fear, terror, pride, satisfaction, rage etc in the Horror Genre. It's one of my favourite genres!
billwilcox
A great bit of excellent info there. Congrats on a helpful newsletter.
Thanks for your kind comments!
blue jellybaby
Great newsletter! You gave a lot of good description and examples which I found really helpful. Thanks.
I am so glad you find them useful. Thank you for letting me know!
StephBee 
Sarah, great look at exploring emotion. I always appreciate working scent into a scene to heighten emotion because that's a challenge, but when done well, very effective.
I so agree! Describing scent is not easy, because I think we all react to different smells in different ways. Describing it so a reader can relate to it is a challenge, but when done properly it makes for great reading. |
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