Screenwriting : Is an Antagonist's Backstory always needed? by Bill Brock

I don't think the antagonists backstory is always necessary because it's not important. I think it's important that audiences understand how Magneto gets to where he is, but it wasn't necessary in the first X-Men movie at all.

However, I could be wrong, but I think that, looking at what you have explained here, the main character of the story is the Villain, which makes them not the antagonist, but the protagonist. If I understand that we follow the villain throughout the story and not the detectives trying to bring her to justice and save the girl. I think we should be given some information about the backstory of that if we're going to create a sympathetic villain.

That's a unique spin, Bill Brock ("...a female-- Brinn Masters, a very attractive, intelligent, and highly respected banking executive, who, unbeknownst to her colleagues, has a weakness for targeting little girls")! I wasn't expecting it as I read your post.

An antagonist's backstory isn't aways needed. Sometimes a mystery is better. And more frightening, as you pointed out. But if you explain why she's the way she is, some viewers might empathize with her (not support her actions but empathize with her).

Nathan Woodward Thanks, Nate, for your excellent comments. Perhaps that's why I chose not to include it. She's a horrible person, so I didn't want to glorify her actions in any way. I belonged to a professional screenwriting forum for 7 years and when I submitted this script for members to read, a major criticism from the group was the lack of an explanation on what motivated her to do the things she did.

Maurice Vaughan Thank you, Maurice, for your astute observations. As I explain to readers who scratch their heads trying to figure out despicable Brinn, I liken her to HALLOWEEN's Michael Myers. He has no backstory. It's simply whatever Dr. Loomis shares with the audience. You know, "Evil" this and "Evil" that. The uncertainty surely makes our minds wander! Many readers opt for wanting to know what makes this woman tick.

Often the story can be the backstory of the antagonistic force. Most importantly the antagonist needs to be relatable and logical.

You're welcome, Bill Brock. A female Michael Myers. I think that'll help your script stand out. But Michael Myers does have a backstory. His childhood, his family, the house he lived in, the town, living in the mental institution.

I don't think you always need a backstory. In this case, her backstory as a little girl for a sequel might be in order. I am intrigued, almost Dexter-esque.

Agreed, Maurice Vaughn. I guess I'm focusing more on that one, single incident that motivates Brinn to get involved in the unspeakable business of child serial killing. Ughhhhhh! Such a God-awful, horrible topic, but hopefully one that will open the eyes of parents everywhere if it's ever produced.

Xenia Alter Thanks, Xenia, for your interest. Abduction scripts remain pretty popular. Keeping my fingers crossed that this one can fall into the right producer's lap. : )

Evelyn Olutola Logan Thanks, Evelyn. Embarrassed to say I've never seen an episode of DEXTER. I'm aware of its existence and popularity, but that's one I just never got around to viewing. Currently retired. I'll add it to my "To Do" list. : ) I like your idea for a sequel. Maybe someday.

Bill, that's an interesting question. Without some backstory, are you saying that anyone could be a serial child-killer? That's really dark. And I assume she's the villain in your story or is she somehow a protagonist, like Dexter? If that were the case, then we'd really need something to help us understand how that's even possible. And you're not retired, you're a screenwriter.

I did post-production for Dexter, from pilot to season 2/3. I dont remember if the pilot did backstory/flashbacks but later episodes showed Dextor's backstory.

@Paul Sokal. Hey, Paul. Perhaps not so much of a back story. Willing to include a quick flashback explaining her "Voo-Doo." She is the villain and will eventually cross paths with our protagonist, Debra McCualey, an alcoholic mother who is currently battling her soon-to-be ex-husband for child custody of daughter Grace. The script is finding some traction on the national competitions circuit. It was also a "Second Rounder Finalist" at the Austin Film Fest in 2021.

@Dan MaxXx. Sounds like it was a very cool gig, Dan! Super Congrats! Thanks so much for your contribution! : )

Bill congrats on second rounder at AFF. You going this year?

I worked with criminally insane serial killers and also criminally insane homicidal patents for over a decade. They are different than non-insane serial killers. The big difference is a criminally insane killer acts in response to voices demanding they kill for a specific reason. For instance, they honestly believe they are saving the person by killing them. And, after killing, they will not try to cover up their crime or run because they honestly think they did nothing wrong. The most common cases are when a mom kills her children because the voices tell her the child is possessed by an evil entity. She kills them to save them from that evil. Then, she calmly remains with the dead children until the husband returns home from work and discovers the dead children.

As a viewer/reader, I would be mad if you don't give us an answer to most important question, Why dun it. I generally don't like flashbacks, there are many creative alternatives. Like common solution when person who is trying to stop criminal, figures out the truth in a process. if you don't justify actions of major character, you are making a shallow story.

Depends on each individual script if backstory needed. I find one continuous chunk tedious on other hand too many now/then interspersions too jumpy. It’s getting necessity & balance to serve story. Revelation to a prelude of mystery/tease/suspense/holy cow moment can be a relief, respite or solve riddle of what’s gone before but whole scenes on one issue too much info in some films. Audience may invest in beginning backstory but if overkill feel cut off when future begins. EG A Godfather film we saw recently began about a rural boy, he travelled to New York ending up in smallpox hospital. Superbly filmed but cos of time spent on boy we wanted to follow those “whole few scenes” and felt cheated.

Wow, Kathleen. Interesting stuff here. My character doesn't hear voices or is possessed. As a child, she was conditioned by strange episodes involving her mother.

Thanks, Paul. Can't make it. My script, DREAM HOLLYWOOD, is up for "Best Screenplay" at the Block Island Film Festival this year, so I'll be attending in May. Was nominated last year and also won in 2021. I guess I'm on a bit of a roll! : )

Awesome, Bill. Congrats.

Interesting stuff. Yep, I am of the opinion that flashbacks are terribly overused in films lately. Sometimes, so overdone that the audience is looking at each other like, "Where the hell are we in this?" And, often it just isn't necessary. I have used them, but - sparingly.

Agreed James. I wrote a supernatural thriller called, THE DRESS, about a murder that occurs in 1923 Hollywood, then shifts to 1985 Hollywood, to which our protagonist attempts to solve the mystery of why things are going "bump in the night" in his recently purchased vintage Hollywood hills mansion. So, flashbacks are definitely needed in order to solve the crime.

Wow. That is definitely 'H'wd' material and I can't wait to SEE IT! I have FIVE such treatments as projects, and you know what? - it takes IMAGINATION to perceive a story like that - and only through 'discovery' will we ever see the light of day for that 'imagination'! It's what keeps us GOING!