The tendency to do this has risen to the level of such cliché that it is now a joke. But in case anyone hasn’t gotten the memo, I want to run an idea by you: do not save villain motivations until the very end. How has this usually happened in the past? A villain does all sorts of dastardly deeds, with seemingly no motivation in sight, until they have the hero in their clutches, and then they start to “monologue” about all the hurts they have endured (probably some perpetrated by the hero, often without the hero’s knowledge), and how they are now enjoying their sweet, sweet revenge. Then the power goes out, their death ray is rendered useless, and the hero turns around and saves the day, etc. etc. etc.
(Random thought: If anyone has read a lot of my writing, I would be honestly curious as to how many times “etc.” appears in my body of work. The total count must be staggering. I wish I had a way to tally all of my blog entries, my book, and my notes that I share independently with clients. I bet it would be a trip. So if we’re ever sitting down and I say something like, “You know, I think your overuse of ‘just’ is one of your writing tics,” don’t feel too badly, I clearly have them, too!)
But it’s one thing to say, “Don’t do X, don’t do Y,” and it’s another to delve into the “why?” factor. Here, it’s a matter of explaining why motivation works for your protagonist, and setting the same rules for your antagonist. Generally speaking, if your hero doesn’t have a clear reason for doing what she’s doing at the scene level or the manuscript level, it’s going to be that much harder to get reader investment (which is, probably, the most important aspect of attracting your audience). “I’m doing all this stuff and I can’t tell you why!” gets old.
The more you establish motivation, the more you can generate relatability. After all, we have goals and strive for them, so seeing someone else strive similarly is instantly attractive and releases deep feelings of empathy. You want this when creating any character, whether you’re working on your protagonist, their sidekick, or, yes, the villain*.
In my book, I talk about why Voldemort of Harry Potter fame is such a great antagonist. First and foremost, he’s eerily relatable. He’s a guy with a lot of hurt inside him, striving to know what love feels like, but going about it in a totally terrifying way. I remember the moment where, despite my best efforts, I sympathized with him. Wow! Think of all the interesting feelings I would’ve missed out on if Voldemort had been characterized in a way that saved all of his motivations and deeper drivers until the very end? That would’ve only given me a few chapters to wrap my mind around everything, and generated a much shallower experience of the story.
Another reason to leak villain motivations over time instead of saving them up until the end is the questionable payoff of “the big reveal.” There are only a few books in recent memory that have surprised me on a level that works well. Being mildly entertained by a twist is not the same thing as shakes-you-down-to-your-socks surprise. The former happens all the time, the latter, very infrequently. So unless you’re banking on the surprise to end all surprises that is so deeply rooted in the story that it will undo and reverse everything that has come before it, you’re not going to get as much mileage out of your reveal as you’re expecting.
Fiction structure and norms have before familiar. Hence the fact that we’re playing with all of these elements as clichés, hence the term “monologuing” even exists to define this phenomenon. There are few very real surprises in fiction because so many stories and plot points have been exploited over time. You aren’t likely to shock your readers, so stop investing so heavily in your reveals and start building character from the beginning. Readers these days are skeptical and wiser than their years. They are more likely to appreciate a complex character relationship instead of a big surprise at the end which, with social media and book review sites, might get leaked ahead of time and ruin the experience. A surprise is a gimmick. If you rely entirely on it, you may pay more in opportunity cost than have that gimmick pay off. (Unless you’re writing in a genre, like a thriller, where twisty plots and surprises are expected, of course.)
Plant clues and small explanations throughout about your villain’s psyche and needs. Their reasons. Their weak spots. Not only will this give your readers more to latch on to, it will give your hero more to work with when it comes time to face their foe. Don’t rely solely on plot and surprise at the climax, try for spychological depth as well.
* Come to think of it, don’t do the big motive reveal for your hero, either. I didn’t think that note could possibly apply to anyone, but now that I think about it, I might as well put it out there in case any writers happen to be struggling.