This week on our fast Maass notes review, we’re going to look at the antagonist.
What is an antagonist? The opposite of protagonist. (Yeah, thanks, Rach, big help!)
Antagonist is the villain. The opposite of the hero. The trouble maker, the one who pulls against the protagonist to keep her from achieving her goal and dream.
Some famous antagonist you might remember:
- Darth Vadar
- Lex Luthor
- Kryptonite
- The terrorist in Die Hard
- Biff in Back to the Future
In Sweet Caroline, the diner, The Frogmore Café, was the antagonist. A broken down diner the heroine inherited. She could’ve cared less about the building, but the people who came with it tugged on her heart.
In Dining with Joy, her secret – that she can’t cook – is like the antagonist. But she also had a personal villain, Wenda Divine, who was trying to expose the secret!
In The Wedding Dress, society, personified in Emily’s fiance, is the antagonist.
So, you see, there are lots of ways to show the antagonist. Any where you see a “good” verses “evil” clash, you have an antagonist. Any where you see a road block to the protagonist’s goals, you have an antagonist.
Here’s my fast notes from the Maass class.
ANTAGONIST
May not have an overt villain, but who gets in my protagonists way. Who slows down or impedes my protag the most. Who throws doubt or questions my protagonist. Who causes them concern. Self doubt or worry.
Working against protagonist. Even a friendly character can do this.
Romantic story – heroes ex-fiance. Tired Cliché.
Outside person working actively against protag.
Tight focus on hero and heroine. Can write from hero’s POV.
What they are experiencing with each other?
Only spending time with hero and heroine? They are each other’s antagonists.
“The woman is infuriating, impossible, can’t stand her, but she’s hot.”
“Darn hero – world would be so much better off without guys like him. Stands for everything I hate. But he’s hot.”
(RH: But if you do this, you MUST show why the hero and heroine belong together!)
What is antagonist defining quality?
Antagonist most wants what? Yearning, dream, goal. Where would he like to go? What to achieve or experience. Avoid?
“If I am the antagonist, how would I describe what I want?”
What does he believe in? “Himself. Do it on your own or it won’t happen. People will let you down. Depend not on others.”
If the world ran the way my antagonist wanted it to run, how would it be better? People were self sufficient. What was good about them? How were things better?
Who supports my antagonists. Make his case stronger. Among the great thinkers and writers, who supports his POV.
What support can antag find in the Bible for his beliefs?
Moment in story when protag recognizes that antag is right and accepts it. “Yes, things would be better. He’s correct.”
“Ever know a truth that you now know to be false, or at least too simple.”
“Ever a teenager?”
Judge someone to find out you were wrong or it wasn’t as simple as you thought.
Ever think you know how God wants things to be but they just aren’t true or working out?
Through the eyes of the antagonist, the protagonist questions her beliefs and life.
Antag has more to do. Need see the antagonist moving through the story. They appear, go away, then reappear. What are they doing all that time? All working on something. Write out what antagonist is doing. 4-5 pages of outline.
Hidden antagonist: See them via clues.
“Enemies can start out as friends and lovers.”
“Enemy understands you better than anyone else. Say things that hurt, but are true. Antagonist can be right.”
Make them three dimensional. No more convenient antagonists. Make them scary. OR loving, then scary!
“What is the biggest thing that will help the antagonist?”
“Who will antagonist win over?”
“What about the protag that antag did not except? Respects? Admires?”
“What is the biggest way antagonist is changed by protag? What do they do differently?”
“Protag and antag relationships must be developed. Must be dynamic, changing and interesting. How do they effect and change each other? Interact? Surprise each of them?”
“How does protag see the antag differently at the end of the story?”
Series of questions:
- Chronology of events that comprise the story, which beginning moment best demonstrates what protag wants or wants to avoid? When do we know what they want. When can we see it.
- What is the moment in chronology of events, toward the beginning, the protag’s sense of security is torn down. What is the last moment, before that when sense of security goes. A moment, down to the minute when she knows, life is not going to be the same.
- Where is she exactly that takes the sense of security away. Things will never be the same again.
“Standing the my apartment, on the phone, ask, “What’s wrong.” Knew she was going to dump me.” - Can one of these moments be page one? How close to these events can we open the story. Standing these looking at something.
- Where does the story open? So many page ones, start setting the scene. We need action and conflict. Things changing. Character coming into crisis. We need to know how character arrived, got there, but that’s not where the story starts.
DEEP POWERFUL STORYTELLING IS OFF BALANCE.
Don’t take the safe way. TOO MANY SAFE MANUSCRIPTS
Now, go make your antagonist stronger, better, real!
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Best-selling, award-winning author Rachel Hauck loves a great story. She excels in seeing the deeper layers of a story. With a love for teaching and mentoring, Rachel comes alongside writers to help them craft their novel. A worship leader, board member of ACFW and popular writing teacher, Rachel is the author of over 15 novels. She lives in Florida with her husband and her dog, Lola. Contact her at: Rachel@mybooktherapy.com.