We’ve all seen and heard writing advice that insists there are fundamental rules that apply to all creative writing. This isn’t the case. Let’s talk about one of the most basic rules: you must make your protagonists likable. I’m not talking about anti heroes here, many of them do have redeeming qualities for audiences to latch on to. I’m talking about characters that are genuinely unlikable, characters that will do anything to attain their own goals.
To learn how to achieve this effectively were going to analyse Jason 2 from Dark Matter by Blake Crouch. Exploring how unlikable characters can captivate audiences, and why sometimes breaking the 'likability' rule can be a brilliant creative choice.
I’m going to include elements from both the book and the series and there will be spoilers for both.
Jason 2’s motivations are very relatable. He’s a man that regrets past decisions, decisions that at the time seemed to be the better options for long-term success and happiness. Choosing the money, fame and status over the life of a small-town professor with a family. But when he achieved everything, his life was empty. Realising this he decides to do something about it but instead of trying to correct his mistakes or mend bridges he decides to build a device so that he can steal someone else’s life and family.
He does try and justify this is in his own head by pretending the other version of himself will like the swap, that he’s giving him the same second chance he’s getting. As soon as he implements this plan, he has become the unlikable character and continues to spiral from this point. He is making choices for people for his own benefit that they would not have made alone. Jason 1 wouldn’t have given up his family, Daniella 1 wouldn't have let this man in to her life if she knew that wasn’t her husband.
Despite these flaws the audience is captivated by this character. Especially if you had read the book before, as Jason 2 only appears at the beginning, briefly between chapters and end of the book. Each week of the show your left wondering what he was going to do next, how far would he go to maintain the lie.
It’s precisely because he’s already gone further than the average audience member would consider going and because his goal is so clear along with his unwavering conviction towards it that the audience is fascinated to know what’s next.
So how do we add this to our own characters?
They must have a relatable want or reason why. This is how the audience connects to this character, maybe they think “yeah, I would want that too”. If the audience relates to them, they will start to like them and begin to form an emotional attachment to them. Another method is to give them a past wound that is influencing their decisions moving forward and allowing the audience to see them as a more nuanced character.
Add admirable qualities. Even if the character is a terrible person its likely they have some admirable qualities. In the case of Jason 2 that would be his determination to work for decades on his project to get the women he loves. Another example could be mob boss that commits horrible acts but is a great family man. These qualities help ground the characters preventing them from being one-dimensional, mustache-twirling villains. But these qualities have to be greatly outweighed by the negative, unless you’re trying to create an anti-hero.
Bring it up two levels. When you’re writing the villains interactions, particularly small-scale interactions or scenes, ask yourself what you could add to intensify the scene. When Jason 2 kidnaps Jason 1 he could have just told him to get out of the car but he smashed his face on the steering wheel. This showed he was not messing around and was one of the first hints he could be menacing if his goal required it. Adding violence that’s just more than necessary can help increase the pressure. Instead of a character asking or demanding another kneels down, have them kick them in the back of the knees so they fall down. If a character refuses to cooperate have the villain grab them and threaten to throw them off a building or into traffic. This can be depicted through conversation as well, later in the series Daniella and Jason 2 are having an argument in the car. Daniella is feeling embarrassed and misunderstood, when Jason 2 says “Maybe your just not who I thought you were.” As an audience we understand he means in terms of the multiverse, but it is also the worst possible thing he could have said in that moment. That’s the question you have to ask yourself as an author: What’s the worst possible thing he could have said in that moment? This is a good was to escalate and intensify the conversation.
Crafting unlikable characters can be a bold and rewarding choice that pushes the boundaries of traditional storytelling. By giving them relatable motivations, nuanced flaws, and moments of humanity, you can create complex individuals who captivate your audience, even as they make morally questionable decisions. Amplify their actions and dialogue to heighten tension and show just how far they are willing to go to achieve their goals. Breaking the rules of likability isn’t about abandoning all connection with your audience—it’s about exploring the depths of human behaviour in ways that challenge, surprise, and engage. So, don’t be afraid to embrace the unlikable and see how it transforms your writing.
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