The Men & Women we love to hate (ePub)

Short Synopsis on the book: Men and Women you love to hate

or What's his name I really hate him'

(As you can see, above; I have two possible titles; but I can't decide which one to use?)

This is how I envisage the book cover the front of the book; the character is a cartoon representation of a 'Baddie' based on Dick Dastardly from 'Whacky Races' which is originally based on a Victorian actor Todd Slaughter who always played villains in plays and films.

The Men & Women you love to hate

Or What's his name? I really hate him!

Main Body of the book

The character of the villain is an integral part of the history of 'story telling' in books, fairy tales in the cinema and on the stage. All cultures that have some form of storytelling tradition, in whatever language the usual premise is of good versus evil or a good person against a bad person.

In the English literary tradition follows on from Chaucer in the 14th century and Shakespeare in the 16th century.

Shakespeare's genius was his skill in making his characters believable and, motivated by the things that motivate all human beings. They react to their circumstances and to people in different ways.

Some of Shakespeare's characters act in cruel and unpleasant ways; some kill, deceive and take advantage of the other person whether man or woman but they remain human beings who we can recognise.

How does the author or screen writer know if a certain type of villain fits well into the script or book they propose in their genre or story?

To an author or screenwriter, each character-type serves a specific purpose in the exploration of a book or script's premise, which usually starts with the protagonist.

An antagonist's primary purpose is to be the main obstacle to the protagonist (hero's) quest or goal, which is motivated by a conflicting goal. That goal is something an antagonist is determined to secure for his or her own reason/s.

The antagonist (villain) can in most cases be self-serving or the protection of a community he or she might have a 'stake in'. The character's reasons for doing what they do can often be the most emotionally compelling part of the story.

This is because audiences can on occasions understand the antagonist's motivation and can sometimes relate to it; these motives fall generally under two distinct classifications of 'personal gain' or 'communal gain'.