The Villain is the Hero’s Nemesis
The obstacles that the hero confronts In Act Two can’t arise willy-nilly from everywhere and nowhere. They must originate from a single source—the villain.
One of the great antagonists/nemeses in movie history is Alain Charnier (Fernando Rey) in William Friedkin’s 1971 classic, The French Connection.
Throughout Act Two, this urbane Frenchman and big-time drug smuggler torments the movie’s hero, NYPD detective Popeye Doyle (Gene Hackman) relentlessly and exquisitely, always keeping one jump ahead and always making Popeye look like a chump.
Like the zombies in The Dead Don’t Die or the Tripods in War of the Worlds, the villain is the source of all the hero’s troubles.
Even when the hero is dueling internal demons of his or her own (like Popeye’s rage and burning passion to make this bust), or struggling with hostile allies (the Feds attached to his case) or other “friendly fire” antagonists (his boss at the precinct [played, by the way, by the real “Popeye Doyle,” Detective Eddie Egan], the actions of the villain are what trigger and reinforce these supplementary nemeses.
In a way, this idea is a corollary to, or restatement of, Steven Cannell’s famous axiom:
Act Two belongs to the Villain
In Act One, we in the audience may be introduced to the villain (think of Charnier in France preparing his heroin-smuggling operation or the Tripods being activated in their subterranean lairs by the super storm from space). We may experience anticipatory chills at the Evil One’s apparition. But it’s not till Act Two that the hero truly becomes engaged with the Bad Guy.
That’s when you and I as writers have to pour oil on the fire.
I know, when I’m stuck in my Second Act, I remind myself, “Go back to the villain. Make him or her smarter, make him/her more formidable, more ruthless, more dangerous.”
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Great insights! Thank you Steve. Thank God for Wednesdays!
Thanks for this concise reminder – “pour oil on the fire” – it’s going up on my bulletin board this morning!
Great post! I get as much enjoyment from reading the posts as I do from your use of language. Thanks for sharing!
As far as villains who are “formidable, ruthless, and dangerous,” I’d have a hard time beating Anton Chigurh (Javier Bardem” in No Country for Old Men.
Joe—how many villains decide their victim’s fate by letting them flip a quarter?
Stone. Cold. Killer.
Jule… Chilling, ain’t it?
https://youtu.be/3B_rRmkbA9I
And something else worth noting: Chigurh has his own ethical code he follows. Like he views himself as an agent of destiny. Uncle Cormac is a genius.
I like it- even the friendly fire antagonists are driven by the main villain
All the villains in my life must think it’s Act Two . . .
Thanks for this, Steve! Making me re-think how my character’s enemy/antagonist really increases pressure leading up to the final confrontation. I need to make him meaner still. TY
This is invaluable, “I know, when I’m stuck in my Second Act, I remind myself, “Go back to the villain. Make him or her smarter, make him/her more formidable, more ruthless, more dangerous”. This may be your third or fourth act, but you are nailing it! Thank you for sharing.
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Got it!
A hero is just a villain with good excuse.
And a villain is, in his own mind, a hero.
Thank you for this, Steve.
Very helpful. I appreciate how you make it so simple and clear. You are much more than a writing coach/teacher/guru. You are a voice of cognitive organization. This is so very needed in the world.
In our lives, the multiplicity of “villains” is no good as a narrative thread. This multiplicity of distracting villains can be distracting to the writer. I wonder how readers appreciate all that we writers have to do to sort out and edit the narrative so that our own confusions in life are set aside in service of the narrative.
Thank you so much for being a partner in this task.
Renita
One more thing. I remember how Ursula Le Guin in her novel Wizard of Earth Sea said that the power was in naming the villain. So it is.
Renita
Finest blog!I would like to thank for the efforts you have made in writing this post. I am hoping the same best work from you in the future as well.
These posts, your books and the Jabs are invaluable. You have totally redirected my writing for the better. I had an architectural edit from a renowned editor but I am getting just as much from all this. I want to thank Steven Pressfield, Black Horse and everyone involved for helping us distill the essence of our works, to persevere with the alchemy knowing the goal is not our “precious,” that gold ring originally sought.
Namaste!
I love this, thank you Stephen!
Another component to this I’d add is in your book “No One Wants to Read Your Sh*T” (which got me writing more than ever before, so thank you for that); about Act Two also being the place for the “all is lost moment” either the villain is at their strongest, hero is at their weakest, or simply both.
Off to stop procrastinating on my day job (it’s a constant act two in my case).
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At 10:20… Sorkin on writing villains:
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Wow, this article really got me thinking about the importance of a strong antagonist in storytelling. I’ve always believed that the villain can make or break a story, and this piece reaffirms that idea. Do you have any favorite literary villains that stand out to you?-industrial valves
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“The concept of the villain as the hero’s nemesis is a storytelling gem that adds depth and intrigue to narratives. It’s a powerful technique that forces the hero to grow, adapt, and ultimately triumph, creating a compelling and memorable journey. When the villain is well-developed with motives and complexities of their own, it not only elevates the story but also allows readers/viewers to empathize and even root for them in a twisted way. This dynamic adds layers of moral ambiguity, making the hero’s victory all the more satisfying. It’s a storytelling device that keeps audiences engaged and invested, making for truly unforgettable tales. Free Immigration Advice UK
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In the intricate dance of hero and villain, the antagonist serves as the catalyst for the hero’s tribulations, a principle vividly illustrated by Alain Charnier in The French Connection. Charnier, a suave French drug smuggler, orchestrates a relentless torment on NYPD detective Popeye Doyle throughout Act Two, deftly staying ahead and casting the detective as a constant underdog. Much like the zombies in The Dead Don’t Die or the Tripods in War of the Worlds, the villain is the epicenter of the hero’s challenges, propelling internal and external conflicts. This symbiotic relationship between hero and nemesis, akin to the delicate interplay in the casual puzzle game, Farmscapes, demonstrates that every obstacle faced by the hero has its roots in the actions of the villain—each move calculated, each setback orchestrated with precision (playpc).
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