Intentionally writing an unlikable character

I've written a lot of detestable characters in my stories, and in fact was told that one of them - Breanna from Trailer Trash Teen Hates Rules - was the most vile literary character ever created.

Sometimes I've written stories where none of the characters are likable or sympathetic, like 'Grumpy Humphrey's Easy Wife'. In this story set in 1960, the titular 'Grumpy Humphrey' is the high school teacher everyone had at least once and always despised - strict, authoritarian, writes copious amounts on the board for the class to copy, inflexible and unapproachable. His much younger mooch of a wife Lorraine is a floozy, having affairs all over town mainly with other married men and with a nasty streak to her, such as spitting in her husband's dinner. Five of Humphrey's students - all seniors and 18 - are three jocks and two girls with poor reputations and no morals, who play a mean-spirited Halloween prank on Humphrey then enjoy themselves with each other and their teacher's wife. We meet some other characters - one of Lorraine's sisters, the two guys from the gas station and Humphrey's boss the Principal - and they are all assholes too.

My most despicable first person characters would be Jeff, the husband narrator of 'Cheating on a Cheating Wife' and Harriet, the narrator of 'Spoiled Heiress Gets Kidnapped'. Jeff is stalker-level creepy, but the events in the story he describes are so outlandish and absurd that one has to wonder how much of his tale is truthful, and he is a definite unreliable narrator. As for Harriet, she is a spoiled rotten sociopath, who gives her kidnappers (who want a ransom from her rich Daddy) nothing but trouble. She is completely unlikable, but also hot and shows one difference between female and male characters I have found. It is very easy to write spoiled female characters and still make them desirable, but with spoiled male characters it isn't so easy. You could do it, but they would have to be an outright antagonist or a redeemer who sees the errors of their ways for it to work.

And talking about spoiled characters, in some stories readers pick the wrong character to dislike. In my experience, this story series was 'Spoiled Princess Hates Camping', and the main character is spoiled rich girl Madison from New York, who is miles out of her depth when her parents make her go camping with their relatives in the New Jersey Pine Barrens. Madison - who struggles with things like campground showers and toilets, single-ply toilet paper, sleeping in a tent, doing chores and outdoor activities like horse riding and hiking - is written to be annoying and unlikeable, and I expected comments like 'What a spoiled brat', 'I thought my cousin was spoiled but now I owe her an apology' or 'She needs to have her panties taken down and her bare bottom spanked, but not in an erotic way'. But more than a decade later, I have not received one negative comment about this pampered princess, but plenty of negative feedback about Dave, a loud-mouthed and brash Australian who gets into Madison's pants and nails her and who was written for readers to like and find amusing.
 
I'm trying to think of a mainstream story that's ever pulled off having an Unlikable Character in the lead. Closest I've come is Patrick Bateman in American Psycho.
Read Wuthering Heights, full of unlikable leads.
 
All my characters who are meant to be unlikeable have a few things in common, whether or not they're the main character, and regardless of whether they ever find redemption:

1. They are all bad tippers.
2. They are all inconsiderate lovers.
3. They all enjoy Aerosmith.
4. They usually drive badly.
5. None of them likes tacos, or pineapple on pizza.

In other words, I take all the traits that make me think "that dude's obviously an asshole" in real life, and project them onto my characters.
 
Alongside the various useful points above, I think a key factor is his motivation. That combined with the conflict and plot can make a despicable character compelling
If we’re fascinated enough by his why - and I’m not talking excess backstory here, unless that’s how you see it - as well as his quirks/ expression/ behavior, there’s plenty to make us read on, that doesn’t rely solely on wanting his comeuppance
 
If you effectively convey the character's circumstances and motivations, you can make it work. Think of Tony Soprano from the Sopranos. Archie Bunker from All in the Family. Travis Bickle from Taxi Driver.
Different kinds of people. Gangsters choose violence or the threat of it as a business technique. (Well, so do governments, as suggested in the Godfather films.) Archie Bunker is well portrayed as the cranky older guy who was common in New York during that period. (By the way, it was unlikely that he was a WASP. In Queens at that time, he'd be Irish, German, Polish, but definitely not Italian.)

Now I've got to say something about Travis Bickle, but I've got to think about him more. I'd say that he was mentally ill, while Sport (Harvey Keitel) was actively evil. Watch the scene where they first meet on the street.
 
All my characters who are meant to be unlikeable have a few things in common, whether or not they're the main character, and regardless of whether they ever find redemption:

1. They are all bad tippers.
2. They are all inconsiderate lovers.
3. They all enjoy Aerosmith.
4. They usually drive badly.
5. None of them likes tacos, or pineapple on pizza.

In other words, I take all the traits that make me think "that dude's obviously an asshole" in real life, and project them onto my characters.
Pineapple on pizza is an abomination. ;) Aerosmith had only one good song about fifty years ago.
 
Writing a new story. This won't be my first story to feature an intentionally unlikable character. Won't even be the first where that character is the narrator.

It will however be the first time I'm setting out to intentionally make readers hate this guy. Now, he will get his comeuppance in the end. But readers will need to make it that far, and hopefully not bail because he's an asshole.

I'm hoping the plot / scenario intrigues readers enough to look past my awful narrator long enough to become invested in the story.

Part of me wants to tone him down a bit. But the writer in me wants to crank his obnoxious level to 11.

I am balancing him out with two other decent characters, of course, and the story will cover their interactions with him and how they ultimately deal with him.


I'm trying to think of a mainstream story that's ever pulled off having an Unlikable Character in the lead. Closest I've come is Patrick Bateman in American Psycho.

As usual I start these topics not so much looking for ANSWERS as just looking to discuss the idea and get other thoughts on it.
Readers don't have to love 'em but you best make sure they understand him.(motivation)

The tropes of save the cat v. kick a puppy simplify this concept. Most can handle an asshole so long as the aren't left in a weird middle ground grasping as to why.

Antihero has reached saturation so if you must, be unique in your pivot. (so many get tacked on feeling good deeds which read as only there to check the AH box

Patrick certainly works, and Humbert Humbert is quite the mind fuck but to me, Amy Dunne is a whole nother level as she throws the reader into such modern, layered emotional tumult. Truly breathtaking.

(villain protags often leverage unreliable narrator so maybe play with that, see how you like it/if it feels right)

Deep waters and strong currents you're swimming in so give yourself some leeway to stumble a bit as you learn.
 
Most of the characters in Dr. Strangelove. General Turgidson: "I didn't say we wouldn't get our hair mussed." They aren't just gauche, they are going to destroy the world. "Mein Fuhrer, I can walk again!"
 
Part of me wants to tone him down a bit. But the writer in me wants to crank his obnoxious level to 11.
If that's where you muse leads you, I say go for it. If the plot and other characters are strong enough, a story like that can work just fine.

When it comes to my stories, the most unlikeable narrator is undoubtedly Christie in City Girl in the Desert. Believe it or not, I did not initially plan to make her the absolutely insufferable narcissist she is. It just sort of happened once I got started, and then I didn't even try to resist that temptation you mention to "crank the obnoxious level to 11". Almost every paragraph brought an opportunity to say, "What outrageously arrogant thing can I have her say now?" It didn't even occur to me that I was putting myself at a disadvantage telling the story through such an unattractive character, until a commenter said so.

I think it made the story work because the supporting characters - who are the real protagonists - look a lot better in comparison just by being normal people. I also think a lot of people could probably identify with Christie's friend, Katie, for having that one old friend who they now see was a real jerk. Last but not least, from the safe distance of knowing it's fiction, characters like that can be wonderfully entertaining!
 
IMHO, Aerosmith has had many good songs and will be missed on the concert circuit. I also like pineapple on pizza, especially from Pokoponesia. :)
 
To go back to OP's original question, lean into it. Don't give apologies for them or create mitigating backstories, and let the reader see what's actually going on inside their heads. Make them snide and cocky and so sure they're going to win... and then pull the rug out from under them. I wrote Polly in LW, who was all of these things and such fun to write, e.g.:

"I douched to make sure he can't taste Harrison inside me. I wouldn't feed my husband another man's seed. I'm not a monster."

Make the readers' toes curl.
 
Writing a new story. This won't be my first story to feature an intentionally unlikable character. Won't even be the first where that character is the narrator.

It will however be the first time I'm setting out to intentionally make readers hate this guy. Now, he will get his comeuppance in the end. But readers will need to make it that far, and hopefully not bail because he's an asshole.

I'm hoping the plot / scenario intrigues readers enough to look past my awful narrator long enough to become invested in the story.

Part of me wants to tone him down a bit. But the writer in me wants to crank his obnoxious level to 11.

I am balancing him out with two other decent characters, of course, and the story will cover their interactions with him and how they ultimately deal with him.


I'm trying to think of a mainstream story that's ever pulled off having an Unlikable Character in the lead. Closest I've come is Patrick Bateman in American Psycho.

As usual I start these topics not so much looking for ANSWERS as just looking to discuss the idea and get other thoughts on it.
A nice change of pace being the baddie....
Stretch the skills and imagination...
Good luck...
LOL... Enjoy being bad.
 
A few that come to mind:

Thomas Covenant
Downfall
The Talented Mr. Ripley
Macbeth
House of Cards
Another I just remembered, less well-known: Natalie Walschots' "Hench". The protagonist, Anna, is a minion to a powerful supervillain, and she does some really awful things "for the greater good"; she has no qualms about having a superhero's child kidnapped to mess with their head, or targeting a guy who's messed up after a bad breakup and encouraging his slide into alcoholism and self-destruction. But the book does a great job at showing why Anna is the way she is, how she justifies this to herself.

One of the paradoxes of the story is that although Leviathan is a bad person, he's a great boss who values his minions and relies more on loyalty than fear. It's not hard to see why somebody would work for him and even risk their life for him.
 
Writing unlikeable characters is not an endorsement of their behaviors. A lot of times they are just more interesting the goody two shoes.


I'm trying to think of a mainstream story that's ever pulled off having an Unlikable Character in the lead. Closest I've come is Patrick Bateman in American Psycho.

Gangster films are filled with these. Whether it's Scarface, The Godfather, Scorsese's films (Mean Streets, Goodfellas, Casino, etc). These characters can be easy to root for as well.

The Usual Suspects also comes to mind.
 
The first person I thought of was David Brent from the U.K. version of THE OFFICE.

He’s absolutely unlikeable. He’s self-serving, full of his own sense of self-important, humourless, unattractive, smug. Just awful.

An interesting one that starts unlikeable but changes as the story goes on is the character of RED in RITA HAYWORTH AND THE SHAWSHANK REDEMPTION, in that we start with his crime, really look at who he is and his vile motives before he winds up inside.

Obviously he has a chapter arc, but he ain’t pleasant when it starts.
 
I’m enjoying this thread. I have always avoided writing douchebag characters, but I have a serious idea for a fantasy fulfillment character the is, by the nature of the fantasy, a skeeze. I keep trying to find a way to make him palatable, and I’m not zeroing in on it yet.
 
Does this character sound unpleasant enough? From my latest WIP:

***
The demon blade was fated to be his. Why else had he chosen that mark to rob? Why else had the man smirked at him, taunted him, until he had no choice but to stab him in the stomach? If the man had been meant to keep the dagger, it would have protected him.

As far as Rulk was concerned, the blade was his by rights. He’d found it, albeit in the box that slipped from the dead man’s hands and landed heavily in the filth of the alley that soon ran wet with blood.

[...]

The man’s breath was still rattling in the damp night when Rulk slid back into the shadows. He wasn’t concerned about the Watch – they rarely ventured far from the main thoroughfares, and never on a night like this – but fresh blood would bring the ghouls. If the dead man’s heart stopped beating before they found him, they’d feed. If not, a new flesheater would run with the pack.

[...]

The old woman [his landlady] was asleep, of course, but when Rulk banged on the door at the foot of the stairs she opened it. Her eyes were bleary, her gums were bare, and she wore only a thin nightdress and a mobcap.

“What took you so long?” he demanded, then interrupted her stammered reply. “Shut up. I don’t care.” Thrusting the cloak into her arms, he went on, “Clean this. I want to wear it later.”

She staggered under the weight of the thing, looking up at him from beneath her cap. “But–” she began in her reedy voice, then fell silent when he glared at her.

“Do it, old woman.” He shoved her, and she gave a wail, then fell onto her arse, legs in the air. Her nightdress slid up to reveal thin, bony legs covered in blue veins.

Rulk laughed at the sight of the woman struggling under the cloak. Seeing her so helpless, legs spread and nearly naked, sent a rush of blood surging into his cock. For a moment he thought about taking her, just to prove his power, to see the look on her face as he fucked her. But there were fresher cunts waiting for him, although he promised himself he’d be back later for a taste of that toothless mouth.
 
So many options!

A) Remove their capacity for self-reflection. This includes feelings of shame, self-doubt, or regret. They never apologize. They blame their victims.

B) Make them self-centered, distrustful, and callous. They view offers of help as offensive. They are never, ever on anyone else’s wavelength. They surprise with how cruel and out of touch they are.

C) Make them neurotic, impulsive, and negative. They see the glass half empty. They fret and scheme and panic. They suck the life out of those around them.

D) Make them lazy, self-absorbed, and unreliable. They break promises. They leech off others. They run late, if they remember to show at all.

E) Make them close-minded, artless, and tribalistic. They endorse hierarchies. They do not question tradition, and revile those who do. They fear and loathe what they do not understand. They have poor taste in seemingly everything.
 
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