Why So Villainous?

A Creative Writing Unit

Overview

A small introduction to your next unit

The Villain Story

A creative writing unit

In literature, there are often villains, or “antagonists,” characters who are often flat, undeveloped, and—ultimately—bested by our heroes. However, every story has two sides, and good literature challenges readers to see a story from both perspectives. For this project, you will practice doing just that.

For this assignment, you will select a classic or well-known story in which there is a clearly defined “bad guy.” You will then rewrite the story from that character’s perspective. Remember, while creativity and a sense of humor are a must, your ultimate goal is to make the character sympathetic and easy to relate to. If your character commits evil deeds, you must provide a motivation—a justification—for his/her actions. When selecting a classic story, if the character is redeemed in the original story (e.g. The Grinch) or if we already know the details of their backstory (e.g. Lotso in Toy Story 3), this will not work.

Download Assignment Description

For Teachers

Plot & Characters

Structuring the story and making the villain interesting

Plot

Directions

First, identify the elements of your original story. For this story, you will not be creating a prequel or backstory for the villain. You will be re-telling the original story. Of course, some backstory is probably necessary, but the main elements of the original story must remain intact. Therefore, begin by filling out a plot line form of the original story.

Download Plot Outline



Characters

Directions

Read through the following information on character types until you can define and explain the difference between these terms: flat and round characters and static and dynamic characters. After you have done so, complete the assignment at the bottom of this section.



Flat Characters

A flat character has one, uncomplicated character quality. Traditionally, villains are flat, being only merciless or solely bent on taking over the world. Sometimes minor characters are also flat, being just there to compliment or act as foils of main characters.


Round Characters

A round character is one with many character qualities; they are complex persons with many aspects to who they are. This is often the protagonist--the "good guy"--of the story. For your villain perspective story, you must make the villain a round character.




Static Characters

A static character is unchanging; if they are mean at the start, they are mean at the end. Traditionally, villains are static characters who are unredeemable by the forces of good.


Dynamic Characters

A dynamic character is one who can be changed by events or people in a story. This is a quality usually reserved for protagonists. For this assignment, you must make your villain dynamic.

Your Task

You recently created a plot outline for the original story. Now determine which elements of the original to keep. For many of your stories, you will not be able to retell the entire story, so decide which parts to keep and which to throw away. For instance, if you are retelling The Lion King from Scar's perspective, decide whether you will tell the entire story or just part of it. Will the new climax of the story be when Scar kills Mufasa (part-way through the movie) or will it be when Scar battles Simba (at the end of the movie)? Consider the page limit of this assignment and decide how much is realistic for your story. Fill out a second plot line from the villain's perspective; this time, make the villain a round and dynamic character.

Note: After this assignment, you will pause before the next section and make your first draft of the villain story (minimum 3 pages)

Download Second Plot Outline

Dialogue

Just make them talk.

Basic Conventions (punctuation/formatting)

Directions

Download the handout "Basic Dialogue Conventions" and read through the dialogue rules it covers. On the back of the handout is a set of sentences to be corrected. Complete this assignment before moving on to the next section on advanced dialogue strategies.

Download handout "Basic Dialogue Conventions"

The following image is public domain from Pixabay


Advanced Dialogue: The 3P Strategy

How to make your dialogue effective

Directions

Read through the following sections until you understand the different aspects of the 3P Dialogue Strategy: purpose, personality, and posture. After you have done so, complete the assignment at the bottom of this section.

P

Purpose

All dialogue serves a purpose

Dialogue generally serves one or all of these three purposes: reveal character, establish relationships, and develop conflict.

P

Personality

Give your characters a voice

Memorable characters are so not just because of their actions but also because they have unique voices. Give your characters personality by giving them a unique voice. Consider how these quotes naturally fit characters' personalities.

"Death is a natural part of life. Patience you must have, my young padawan... Mourn them do not. Miss them do not."

This quote from Star Wars not only reveals the speaker's character to be not just unusally formal (the reversed syntax), but also to be a sage or mentor character
“I just like to smile! Smiling's my favorite... First we'll make snow angels for two hours, then we'll go ice skating, then we'll eat a whole roll of Tollhouse Cookiedough as fast as we can, and then we'll snuggle.”

This quote from Elf uses a run-on sentence structure (phrase after phrase after phrase) to suggest that the character is very energetic, informal, and maybe has a little ADHD going on. Besides that, we also find out that the character loves youthful things.
P

Posture

Nonverbal communication matters most

According to communication studies like Dr. Albert Mehrabian’s Silent Messages, 90% of communication is nonverbal—that is, we understand 90% of what someone says by how they say it (posture and vocal qualities), not their actual words. Knowing that, your dialogue tags are more important than the actual words between the quotation marks. Consider the many ways of reading the same quote “Let’s go” (notice, only the actions in the dialogue tag is changed):

Maria rolled her eyes. “Let’s go.”

“Let’s go,” Maria said, smiling herself off the couch, jacket and hat in hand.

Maria wiped her cheek, and exhaled deeply. “Let’s go,” she said, cradling the aging Cocker Spaniel like a baby.

Download handout "Advanced Dialogue Strategies"

Your Task

Revise the dialogue in your story based on the 3P strategy; then highlight in green at least 5 dialogue tags that illustrate the "Posture" strategy.


Word Choice

Choosing words that make your story believable

Directions

Read through the following sections until you understand the difference between these terms and why they matter: concrete and abstract, general and specific, and connotation and denotation. After you have done so, complete the assignment at the bottom of this section.


Concrete
vs. Abstract

Concrete vs. Abstract Diction

What's the difference?

A concrete noun or verb is something that directly appeals to the senses; they are, therefore, sometimes referred to as sensory details. Some examples would be grass, scratch, cask, etc. An abstract noun or verb is more an idea and does not appeal to any of the five senses; it is therefore by nature more detached. Some examples include democracy, dictatorship, develop, etc.

The difference between concrete and abstract is the difference between car keys (concrete) and independence (abstract).
Why does it matter?

Ever heard the saying "Seeing is believing"? In fiction writing, giving the reader specific concrete details to see is essential. Consider this description of the cat, Mrs. Norris, at Hogwarts in Harry Potter and the Sorcerer's Stone:

Filch owned a cat called Mrs. Norris, a scrawny, dust-colored creature with bulging, lamplike eyes just like Filch's. She patrolled the corridors alone. Break a rule in front of her, put just one toe out of line, and she'd whisk off for Filch, who'd appear, wheezing, two seconds later.

Regarding what happens to Harry in the rest of the story, it may seem like it doesn't really matter that the cat's eyes are bulging or that she is scrawny and dust-colored, but Rowling is creating a believable school to put Harry in. As Flannery O'Connor says in her book on fiction writing, Mystery & Manners, "It's always necessary to remember that the fiction writer is much less immediately concerned with grand ideas and bristling emotions than he is with putting dust on cats' fur coats." (adapted, p. 70)

Specific
vs. General

Specific vs. General Diction

What's the difference?

When we refer to a word that is general, typically we mean a word that groups possible meanings. For instance, the word “bird” is a general word that groups the more specific “crow,” “hawk,” or “eagle.” An even more general word for bird would be simply “animal.”

When we refer to a word that is specific, we mean a word that is less of a group and more of a particular thing. These terms general and specific are not, of course, black and white terms but refer more a spectrum, illustrated below.

Why does it matter?

The more specific your word choice, the more the reader is able to imagine your story. Does this mean that you should be on the ultra-specific side of the spectrum at all times? Definitely not, but if you are not consistently specific, your writing will lack flavor. It will also miss the possibility of implied meanings (that is, connotation) that come from using concrete-specific words. For more information, see the blog post "On Word Choice in Flash Fiction" by Jim Harrington, editor for Flash Fiction Chronicles.


Connotation
vs. Denotation

The Connotation and Denotation of your words

Use words with deep associations

Denotation refers to the dictionary definition of a word, while connotation refers to the emotional or suggested associations with a word. Every word you use will have a denotation, but try to use words that also possess emotional significance. For instance, when referring to a character's car, we could simply say "John's car" (neutral/no connotation) or we could say "John's Mercedes Benz" (the connotation suggests wealth, prestige).

Your Task

You want to be concrete and specific as much as possible, not abstract or general. Take some time to revise your story for concrete-specific details. Add at least 10 examples of conrete-specific details and highlight them in yellow. Then, add at least 5 examples of word choice for purposeful connotation; add a footnote for each one labeled "Connotation," in which you explain your word choice and what connotation it creates.

Metaphor

This section under construction

Directions

Read through this section until you understand the difference between metaphor and cliche. Refresh your memory of the different types of figurative language. After you have done so, complete the assignment at the bottom of this section.

((Content of Section Goes Here))

Your Task

Revise your story for figurative language, adding at least 5 examples of figurative language, none of which are cliche, highlighted in pink. Remember, when you try to add figurative language, likely the first five, even ten things that come to mind will be cliche. Usually new figurative language is something you have to actually think about--it doesn't just come to mind. Make at least one of your examples of figurative language a conceit or extended metaphor.

Final Revisions

This section is under construction.

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