Writing a Villain POV: Antagonist Chapters
Villains offer unique insights into a story. They not only act to stop the hero in their tracks in terms of plot progression but also offer counterpoints to central ideas of the book. A hero might work toward harmony and peace, but an effective villain will offer the opposition: Is harmony conformity? Is peace compliance?
A good villain challenges the hero or world on more than one level—physical, moral, emotional, and so on. This is why it can be so compelling to include a villain POV (point of view) in a book.
You can do this in two ways: a villain POV that is the book and a villain POV that composes sections of the book. These distinctions can be referred to as a villain protagonist versus an antagonist POV, respectively.
Both have their pros and cons.
Pros to a villain protagonist:
Offers a new perspective on an old tale.
Is unbound by traditional heroic expectations.
Creates greater room to explore familiar topics.
Cons to a villain protagonist:
It may be harder to get readers to care about the MC (main character).
You may be limited by expectations of a what a villain is.
A balanced story approach to bad behavior can be tricky.
Pros to an antagonist POV:
Heightens tension in a story through dramatic irony.
Engages readers on the ins and outs of the conflict by showing a villain’s motives.
Adds depth and dimension to the world through an alternative outlook.
Cons to an antagonist POV:
It can weaken tension if too much plot or insight into the villain is given away.
A villain may become more likable and sympathetic than the hero and leave the reader not wanting to see the hero win.
It could add confusion to the story and muddle the overall message.
We will explore villain protagonists in a future article. For now, we will focus instead on what it means to have an antagonist POV in a book with one or more protagonist POVs.
Why you might include a villain chapter
The central reason to include an antagonist POV is to heighten the overall tension in a novel. Their perspective adds layers of suspense and intrigue, which ultimately contributes to the conflict.
An antagonist POV chapter can have a variety of uses.
Reminds readers of a threat.
If a novel is at a slower section or even a false victory, you can keep the pressure on by having an antagonist POV. The story momentum is maintained through this reminder, and it increases the dramatic irony where the reader knows something the characters don’t. The tension builds.
Contributes to an impactful reveal.
A plot twist can thrill readers and keep them coming back for more. A villain reveal can be an especially dramatic moment. An antagonist POV chapter can occur before or after the reveal to help develop the plot twist.
If an antagonist POV happens before the reveal, it can add dramatic irony where the readers are yelling “don’t trust them” while the cast is none the wiser. You may also add an antagonist POV chapter after the reveal in order to expand on the event and make it more impactful.
An example is in Burn Bright by Patricia Briggs. During the climax, the protagonists learn which secondary character betrayed the group. It’s an effective shock because readers previously liked that character. A few chapters from their perspective elaborates on the betrayal and makes the sting of it all the more memorable and weightier.
Adds depth and perspective.
World-building can often be given greater depth through multiple perspectives. In our own world, people experience the same cities and places differently depending on their position in it. Giving alternative views of your story can create a more dynamic conflict.
An example of this is in Jade City by Fonda Lee. Most of the POVs are from members of a wealthy mafia-like family. However, the exception is a cruel side character with little means or access to the book’s magic. This additional POV presents the Green Bones magical conflict as not one of family and honor, as the main characters see it, but one of privilege and class-based power.
How to craft villain chapters
The key to an antagonist POV chapter is a sense of uncertainty. You want to give away just the right amount of information and detail.
If you give away too little information, then the reader wonders why that section was included and may become bored or frustrated. For instance, readers don’t always care about the villain’s perspective and may feel an antagonist POV is unnecessary or slows the story.
It can be challenging for many readers to care about a POV that is not the heroes, so antagonist POV chapters should serve a clear purpose in the book and add some kind of important information.
Be careful with adding too much information as well. Too much insight can kill the momentum of a plot. Consider a scene in a fantasy book depicting a villain planning to do something terrible to the king. The reader may receive a glimpse into their frustrations and their skulking around the castle, but not the exact details. The reader wants to know more: How exactly will they target the king? Why do they feel so wronged in the first place?
In contrast, the villain holds a packet of poison and thinks to themselves, The king will answer for his crimes against my father. (That’s a little on the nose, but you get the point.) Now, we know what they intend to do and why. The reader has the roadmap for the rest of the story and is not necessarily driven to keep reading.
Early antagonist POV chapters are strongest when they add to the uncertainty of the reader and the all-important question, “What happens next?” Be sure to obscure exact motives and plans until the last minute.
Antagonist POV chapters that occur toward the end of the novel are strongest when they expand on what the events mean. These additions can create a deeper sense of the world and conflict that would otherwise not be achieved through the limited POV of the hero. Antagonist POVs offer unique opportunities to understand any story just a bit more deeply.
Stay tuned for part two about writing a villain protagonist!
Do you need help crafting your perfect villain? A brainstorming session or a developmental edit can be a great way to get feedback on a book’s characters and overall story. Email me at hello@richellebraswell.com to start the conversation.