I’ve got a special treat for you today. Becca Puglisi joins us with tips on how to flesh out antagonists. Please help me welcome her back to TKZ.
We all know the importance of tapping into our character’s feelings and conveying those clearly to readers. When we do this, readers connect with our characters and become invested in the story. This is how we keep them engaged beyond the first few pages or chapters.
But sometimes our characters don’t want to “go there” emotionally. Maybe they’re resistant to change and have a death grip on the status quo. They might be uncomfortable with certain emotions and will try to hide or repress them. Un-dealt-with trauma may cause them to avoid their feelings. There are a lot of reasons a character might need an extra push to get them out of their emotional comfort zone. And the best way to do this is with an amplifier. Emotion amplifiers are specific states or conditions that influence what the character feels by disrupting their equilibrium and reducing their ability to think critically.
Distraction, bereavement, and exhaustion are examples. Emotionally speaking, these states destabilize the character and nudge them toward poor judgments, bad decisions, and mistakes—all of which result in more friction and increased tension in the story. And that’s often what we want.
But we’re not the only ones invested in making life difficult for our characters. Villains, rivals, frenemies, antiheroes, and other morally flexible characters will often seek to undermine other characters as a means of controlling them or manipulating their circumstances. A strategically used amplifier is a great tool for bringing those devious pursuits to fruition. Here are a few examples of short-term goals your bad guy or girl may pursue and how an amplifier can help bring them about.
MANIPULATING MOOD
Mood is a temporary state of mind—tending toward negative or positive—that is often influenced by external stimuli. It affects a character’s perception of themselves, other people, and their situation and influences their decision-making.
Someone with a vested interest in changing the character’s mood can easily do so with an amplifier. Maybe they purposefully put the protagonist into a state of exhaustion by disrupting their sleep, or they force them to endure the hardship of cold temperatures by killing their heater in winter. As the character’s mood swings, they go right where the adversary wants them: emotionally elevated, irritable, and distracted from what really matters.
ENSURING COMPLIANCE
Antagonists tend to crave compliance; after all, it’s a lot easier to dominate others when they’re not actively fighting against you. If the protagonist hasn’t yet recognized their enemy, all the adversary has to do is quietly manipulate the situation to weaken them. Then they can step in and lead the character in the wrong direction, offer self-serving advice, or magnify any cognitive or emotional dissonances already in play.
In the movie Ghost, Molly’s husband Sam is dead, and she’s in the throes of bereavement. Her good friend Carl (who, unbeknownst to Molly, was responsible for Sam’s death) is now subtly putting the romantic moves on her. His attempts are unsuccessful, so he takes a different tack by pushing her deeper into grief, deliberately using her situation to make her more vulnerable and open to suggestion—a despicable but frequently successful way to gain control and influence over someone’s decisions.
Another way a character can ensure compliance is by introducing an amplifier to create an undesirable situation, then using that situation to “rescue” the victim. Consider a greedy land baron who wants to take over a town, if he can just depose the matriarch. So he uses his considerable resources to create a local famine. Crops fail, people and animals go hungry, and the coming winter promises even greater suffering and death. Fear becomes as abundant as food once was. The matriarch, unable to identify the cause of the famine, is powerless to resolve the problem.
Then a stranger comes to town. He expresses sympathy for the villagers and reverses the famine to provide food until the next harvest. The indebted villagers begin to view him as more capable and resourceful than their own matriarch, and voilà! Through a fabricated disaster fueled by hunger and fear, the antagonist has earned the trust of the people and is on his way to claiming the village for himself.
CAUSING A PSYCHOLOGICAL DERAILMENT
But what if it’s not enough to simply win people over? In extreme cases, an antagonist may need to break down their opponent mentally and emotionally before building them back up in their own image. Leveraging the following amplifiers can help accomplish this.
Isolation: Separating a character from other people and even the wider world creates an unmet need in the area of social connection (love and belonging on Maslow’s hierarchy). Isolated characters make easier targets because of their emotional vulnerability and their longing to be accepted by others.
Confinement: Trapping or restricting a character in some way makes them emotionally volatile and reliant, forcing them to depend upon their captor for release, information, or whatever they need to survive.
Forced addiction: Creating a dependency on drugs, medicine, or other substances alters the character’s mental state, tempting them to sacrifice their moral code and reconstruct their priorities as the substance becomes the most important thing.
Torture and trauma: These potent tools, applied directly to the character or indirectly to loved ones, make the protagonist more fragile and easier to break.
Brainwashing. Thought reform through altering the character’s beliefs, attitudes, and behaviors is the tool of a morally destitute antagonist. This subtle process twists fear and hope in a perverse way to rewire the subject’s brain to align with the adversary’s own ideas.
These are difficult notions to consider, particularly as we know these amplifiers are used in the real world for heinous purposes. As such, writers shouldn’t deploy them casually. But they are legitimate options for a corrupt character who’s motivated enough to use them.
There are so many ways a character may seek to achieve their nefarious goals, and an amplifier can be the most effective. Make your antagonist a force to be reckoned with. Arm them with amplifiers that will make them more powerful, create challenges for the protagonist to navigate, and encourage readers to keep turning pages to see who wins.
For more information on amplifiers and how they can empower antagonists (and steer story structure, encourage character growth…the list goes on!), keep an eye out for the 2nd edition of The Emotion Amplifier Thesaurus, releasing on May 13th. Available now!
Happy Release Day, Becca!
Becca Puglisi is an international speaker, writing coach, and bestselling author of The Emotion Thesaurus and other resources for writers. Her books have sold over 1 million copies and are available in multiple languages, are sourced by US universities, and are used by novelists, screenwriters, editors, and psychologists around the world. She is passionate about learning and sharing her knowledge with others through her Writers Helping Writers blog and via One Stop For Writers—a powerhouse online resource for authors that’s home to the Character Builder and Storyteller’s Roadmap tools.
Thanks for being here, Becca. Your post made me think of gaslighting, which we hear so much about these days. The term comes from the movie Gaslight (the 1944 Ingrid Bergman version, and my favorite, the 1940 British version) which is a whole movie about amplification. Chilling and effective.
I haven’t seen that movie in ages, Jim. Now that you mention it, I can see why Gaslight sprang to mind.
Thanks again for hosting, Sue!
My pleasure, Becca. Happy Release Day!
I’ll check it out. Thanks for the recommendation!
Great post, Becca.
Very interesting information on emotion amplifiers. This should lead to some very powerful villains in coming years.
I look forward to reading your book.
You can’t go wrong with any of the books in this series, Steve. Highly recommend.
I’d love to hear what you think of it, Steve. Thanks for reading.
Happy Release Day, Becca and Angela! Just ordered the book. The concept is chillingly relevant in today’s world where we’re constantly bombarded with amplifiers that increase stress.
Best of luck–you’re already at #5 on Amazon in authorship reference!
Woohoo! Congrats, Becca!
Thanks so much, Debbie. It so great to see the book “out there” after all the work that goes into putting it together ;).
Good morning, Becca, and thanks to Sue for having you here today.
You and Angela came up with a great idea for emotion amplifiers, and I love the way you describe the manipulators: “Villains, rivals, frenemies, antiheroes, and other morally flexible characters”
TKZers: I had the pleasure of interviewing Becca Puglisi and Angela Ackerman for my blog, and we cover the history of The Emotion Thesaurus and the addition of the new book and its uses. The interview posted today on my blog at:
https://kaydibianca.com/2024/05/13/emotion-on-the-craft-of-writing-blog-may-2024/
(Drop by and comment, and you have a chance to win one of Steve Hooley’s gorgeous hand-crafted pens.)
Thanks for the link, Kay!
Amplifiers aren’t just for villains, that’s for sure. Thanks for the interview, Kay!
Welcome Becca! Congratulations on your latest release. I’ve just ordered it.
This is a very useful concept, not just for emotionally intense genres like thrillers or suspense. I write cozy mysteries and these emotional amplifiers can be very effective for the antagonist. Cozies need a good antagonist as much as any other genre.
I especially like how these can be subtle in the way the villain weaves them.
Thanks so much Sue for inviting Becca to guest post here today.
Thanks for pointing that out, Dale. Amplifiers work for many genres.
Yes! Every hero needs a worthy antagonist, and they don’t have to be in the Voldemort vein. In-laws, a rival coworker, the head of the HOA, or even someone who should be on the hero’s side, like a coach or cousin, can be serving their own interests, and amplifiers are great for getting that done.
Best of luck with your writing!
Adding this to the other books in your collection that I have! All of them are great resources!
Agreed, Patricia!
Thanks so much, Patricia!
My antagonist is one of the three main characters – and point of view characters. She gets the same treatment as the other two – fully fleshed out. You can see her making her self-centered choices, and even ask yourself if she’s right!
She has my respect, I know why she does what she does, and I let the consequences fall where they should.
She is critical to the story, critical even to creating her own fate.
At least once reader has said the villain is her favorite character. Hmmm…
I have anti-heroes, too. Love the shades of gray!
Making the antagonist a viewpoint character is an effective way to humanize her and generate reader empathy. Great choice!
I’m new to this blog, but I’ve been seeing the release of Becca’s new book on multiple websites and I’m so excited to add it to my resources. I reference her work often as I’m writing my first novel.
This article alone solved a dilemma I had between which character to put into a scene with the protagonist. The true friend or the antagonist? Now, it’s obvious the antagonist can use this opportunity to manipulate the protagonist and further isolate her from the true friend. I’m always grateful to find these golden nuggets through the writing community. Thanks so much for this post! I’m sure I’ll return often.
We hope you do, TJ!
Good idea regarding your scene. You could also include a foil character. For more on foils vs. antagonist, see this post: http://killzoneblog.com/2021/04/when-opposites-attract.html