I’ve been thinking about the role of the antagonist in stories. A super quick search of the interwebs revealed four main types of antagonist: Evil, Opposing, Superior and Internal (honestly, I’m sure there are other classifications, but this serves my need for now). They’re all interesting and worthy of deeper consideration, but it’s the evil antagonist who is most relevant to where my musings have been taking me.
The evil antagonist is the one who is evil for the sake of being evil. This character may have a back-story that gives them some excuse, but generally it’s not critical to understand their why. All that matters is how they satisfy their greed, hunger for power and uncompromising drive to achieve their nefarious goal at any cost, and how they torment the hero of the story along the way.
Often, we feel nothing but hatred for this character, they represent the worst traits of humanity distilled and concentrated for effect. No-one feels empathy with the likes of Lord Voldemort from Harry Potter, Sauron in Lord of the Rings, Darth Sidious in Star Wars, or Doctor Smith in the revamped Lost in Space. They have no redeeming features.
But there is another kind of evil antagonist—the trickster. They’re usually a secondary antagonist to some greater evil, either facilitating the main antagonist, or confounding the hero for their own means. Yes, they’re evil, but they have moments of vulnerability that fool not only the hero, but us as well, into empathy. We can almost see ourselves in their place, even if just for a moment.
My favourite examples of the trickster are The Master/Missy from Doctor Who, Loki in all his incarnations, Moriarty from Sherlock Holmes and, most recently, Ms Wardwell (otherwise known as Lilith or Madam Satan) who was the sole reason I watched the entire first season of the Chilling Adventures of Sabrina in one sitting!
Of all the antagonists I adore tricksters above all others! What I love most about these characters is their intelligence and wit. So, it’s really no surprise that I’m incorporating one into my current work in progress (known for now as ‘The Japanese Story’). My trickster is a white fox who acts as a messenger between humans and Gods. He’s a fun character to write and I hope I do him justice as his role develops.
 

​I’ve recently been involved in negotiations and discussions over the design of a book cover. During the discussions, it became clear that almost everyone involved had a different expectation of what the cover should look like and what that would mean.
So, I ask the question—What’s in a Cover?
Because I’m a very visual person, I look for an attractive, interesting, or quirky cover. It must have artistic merit, I like imagery that leads the eye from the title across the page to the author, or the other way around. I like space and a sense of movement. Imagery should address the content, but sometimes words and patterns are all I need. In that case, the fonts should be interesting and unique, and the placement of the title and authorship used to the same effect as imagery, to lead the eye.
Unless I’m looking for a specific author or title, then it’s the cover that determines whether I bother to pick a book up and look inside to see what it’s about (Yes, I’m describing my process with a physical book because that’s where my heart lies, but it equally applies to clicking on an ebook on a screen).
The cover is very important when I’m looking for a new read. If I don’t like the cover, I don’t pick up, or click on, the book. No sale!
The different will leap out at me, anything that is unusual or unexpected will grab my attention.
So, in my recent discussions, I was surprised to learn of the belief that people won’t buy a book if the cover doesn’t match their expectations for the genre. The perception was that the reading audience did not seek uniqueness, but sought sameness in design. This revelation hurt my heart. It also made me wonder whether the approach of uniformity limited sales to a portion of the potential market. Maybe it doesn’t matter, because those that want their books to look the same form the most lucrative corner of the market? I have no idea.
I, of course, understand that a cover for a physical book won’t always work in an online environment—where the size of the thumbnail images results in the loss of fine detail and finesse. The sheer quantity of books available in electronic format exacerbates this. Anyone can self-publish, some of it is wonderful, much of it not! So surely, in the sea of books available to readers, a well-designed and unique cover becomes even more important?
The other issue that arose was specific to erotic fiction, where the favoured ‘look’ is a torso, or two (I was directed to the top selling erotic fiction on Amazon, you should go there too!). There was much discussion on whether the model on the cover should be a single man, a single woman or a couple. In many ways, this depends on the perceived audience and the contents of the publication, but even here we diverged in our views. My view is that women readers want to see a woman on the cover—someone they can identify with. Almost everyone else in the debate thought the opposite. For me, unless the title of the book gives a clear indication otherwise, a single man on the cover indicates that the material inside is aimed at gay men. Maybe I’m just weird?
Despite not getting my way on almost every aspect I was concerned about, it was an interesting discussion and clearly gave me a lot to think about (hence this blog!).
I fully concede that this is an area I’m new to, and I’m quite likely wrong in many of my views. Hell! I’m sure there’s an entire field of research that I’ve been too lazy to investigate that would answer all of my questions! But I’d really rather hear from you!
How important is the cover in your book choices? And what makes a great cover? I’d be really interested in your thoughts.

I’ve never had any trouble finding inspiration for stories, short or long. My novel-under-development was inspired by one of my cheeky dogs from another time in my life. Many short stories find their source in a real-life historical character whose story I reinterpret and twist to suit my strange tastes.
Dreams sometimes provide me with the kernel of an idea. I’ve always had vivid and fantastical dreams and when combined with an over-active imagination my cup of inspiration is often in flood.
Sometimes travel gives me rich pickings. In 2015 I travelled to Japan, a country laden with myths, legends and religious icons, where sexuality is at once repressed and celebrated. I have a wonderful idea for a story involving samurais, gods, white fox messengers and perhaps even water-dragons.
Just this New Year I was in South America, where once again local myths and legends have fuelled my imagination. Tales of Peruvian gods and goddesses, shamanic tales of the mystical powers of the rainforest trees and animals who inhabit them, and idyllic settings have set my imagination on fire once again.
My challenge? How to contain my urge to write them all at once and how to retain the passion for each story.