The best villains actually have a noble purpose. Like the Bond-
Antagonists usually get introduced late, like around the first turning-
When choosing your antagonist, make him/her/it not just nearly-
You don’t have to have one antagonist either. Take Breaking Away, for example, at first you’re led to believe that the Italian Cycling Team are the antagonists, but you later realize that the college kids are the real antagonists of the story. Both serve as antagonists at different points in the screenplay.
Antagonists can be individuals or groups. There can be one antagonist or many. The only requirement is that they work directly (or indirectly) against your protagonist. They are one of the things standing in the way of your protagonist finally achieving his goal or succeeding in his quest. They should expose flaws in your protagonist too. Wherever he is weak, the antagonist should be strong. Beating him should be nearly unthinkable.
Try and make your antagonist’s introduction exciting, jaw-
Take the opening scene of Utopia, for instance (above). It’s a UK limited television series that lasted for two series of six episodes each.
A thousand shows have antagonists that use guns, how many gas-
Any antagonist can just shoot somebody -
Overcoming this internal-
Think of your final battle as a screenplay or short-
And, as always, make it interesting and exciting and fun!
The Star Wars movies always take this advice to heart -
Or, take the final-