quietemptydiariess said to howtofightwrite: I’m writing a female lead heist film with two lead characters. The villain is one of the women’s best friends. However, I’m having writer’s block on creating the villain character. I haven’t come up with anything.
The antagonist of a heist film is the security systems put into place to prevent the theft of the valuable object the thieves want to steal, the villain of the narrative is either someone who protects the valuable object (like the art museum’s security director) or the owner of the object the thieves want to steal. They can be the owner of the object, another thief who stole the object first, a private collector, the runner of a museum, an interpol agent, an FBI agent, or someone like an insurance investigator put in place to protect the millions of dollars the insurance company will need to dole out if the valuable object gets stolen. Or, there can be multiple secondary villains/antagonists set in multiple positions in the narrative. We have the criminal who owns the piece the thieves want and will kill them if they catch them, the interpol/FBI/insurance agent who is investigating the thieves and applying external pressure, and the security director who is the primary head to head nemesis our thieves are working around.
With a heist narrative, the big antagonist is always the security systems put in place to protect the valuable object. If you don’t have that then you don’t have a story and you don’t have villains.
A heist narrative has two primary antagonists, one are the characters actively working to prevent your thieves from stealing the object and the security systems being put into place to keep the object from being stolen in the first place. The foe in the heist story has to catch their opponent, they can’t simply find and kill them. They investigate them.
The security systems are a wall antagonist, your characters have to find their way around or over a wall. The live antagonist is ultimately secondary to the security precautions, which is the problem your characters are looking to solve.
Heist films aren’t about a race against other people, but your characters are the ones setting the tempo. How do you get the information you need arousing suspicion? When you’re under suspicion, how do you ensure you don’t move too fast that you start making mistakes but also don’t move so slow that you miss the window of opportunity? Your characters are putting themselves on the clock, they need just enough time. They need to be precise.
You, as the author, are setting up a puzzle box.
If you’re having trouble with your villains, you’re having trouble with your puzzle. If you’re having trouble with the villains, you need to be spending more time on your puzzle. The live actor is not the driving force of the narrative, they are reacting to the actions of your thieves. The thieves are the ones who are pushing the story forward. The live actor, the villain, is someone who is just doing their job and the tension with them in the end is they either do their job or they don’t. It’s up to you to build the character drama on whether the best friend will turn one of your heroes in at the end of the film or give them a pass.
The heroes of the heist narrative are active rather than reactive. This can be difficult if you’re not used to working with the heist genre and female characters specifically can have issues with proactivity. Women in fiction tend to be passive (by design), in supportive roles or acting under the direction of an authority figure, they’re reactive rather than proactive. You’re going to have to fight against that impulse, which is to step aside and let someone else (usually male) set the tempo. The villain of a heist narrative doesn’t have to do anything, if your characters never make the first move then what they have isn’t under threat and they don’t need to defend it. Your characters have to get in first and keep moving because if they do nothing then the other side wins by default.
What do you want?
What do you need to get it?
How do you get it?
How do you avoid getting caught?
What are the complications?
This is a chess game. Your heroes are playing white, the villains are playing black. White moves first, black responds. If white doesn’t move, there is no game. You’re playing both sides, and occasionally trap doors will open to take your pieces. After all, this game is about winning and not about rules. White will cheat, but if black catches them cheating it’s also game over.
Heists are exercises in your characters’ creativity.
Your villains are reacting to your characters’ actions.
Relax, and focus on the circumstances surrounding the object the characters intend to steal and how this other character relates to that object.
Once you have your puzzle, you’ll have your solution and then your answer.