The Save the Cat Myth
Common advice warns against writing unlikable characters, telling you to ‘Save the Cat’—have your hero do something noble early on—to make readers like them. Writing groups often echo this: “I just didn’t like the character,” or “I didn’t connect with them.”
And sure, for most stories, throwing in a scene where your flawed protagonist saves a busload of orphans is going to endear them to the reader.
But in crime fiction, nice gets you killed.
As a general rule, crime readers are not reading to like the hero. Instead of likability, when writing unlikable characters, you must give them two specific qualities:
- They must be exceptional: Think Lisbeth Salander with computers or Nero Wolfe’s mind.
- They must be intriguing: This one is more difficult, but vital.
If your protagonist is just saving cats and petting dogs, it’s the kiss of death.
The Rule of Competence (Why We Love Jerks)
There is an element of mystery novels that is essentially competence porn. We love following stories where the protagonist is just that damned good. How many Sherlock Holmes stories have there been?
Dr. Gregory House is the ultimate example. Writers became increasingly curious about how many flaws they could wrap around one protagonist.
All these characters talk the way I would on beta blockers and a pot of coffee. The reason Sherlock Holmes, Jack Reacher, and Dr. House can be such assholes is simple: they’re always right. When writing unlikable characters, remember: Competence is intriguing. Conversely, you can’t afford to have a protagonist be a jerk and be wrong.
Obsession Matters for the Flawed Protagonist
If you’re doing it right, the reason there is a plot at all is that the main character wants something. The more they want it, the larger the personal stakes.
The Dude in The Big Lebowski wants something small: his rug back. But Tom Ripley in The Talented Mr. Ripley wants a life that isn’t his. Ripley is a liar, a forger, and a murderer. He is objectively a monster. Yet, as he maneuvers to steal Dickie Greenleaf’s identity, we aren’t hoping he gets caught. We are terrified he might slip up.
This is the key to writing unlikable characters: We are transfixed by their desperate, calculating obsession.
In the “Alphabet” mystery series, Kinsey Millhone doesn’t do what a reasonable person would. If the case was just a case, she would’ve called the police. Instead, her driving need to solve the case has her breaking into houses. The flawed protagonist must be a foil for the obsession of the villain.
Case Study: The “Kick the Dog” Moment
My hero in The Cedarpoint Killings (coming Sept. 29, 2026) is anything but nice. She’s a lousy sister. She’s been sleeping around their small town and gotten thrown into the drunk tank. But after her sister vanishes, she’s the only one who can hunt down her killer.
The reason this works is because she’s competent. She’s the finest hunter in the North Idaho panhandle. Why would an intelligent, thoughtful person act in such a way? Her husband has just left her after a long-term affair.
Conclusion: Be Effective, Not Nice
The best detectives are the best equipped to solve the crime, not be the life of the party. When writing unlikable characters, remember: I don’t need to see your detective save a cat. I need to see them catch the killer.
