When adapting fact-based stories for the screen, you may find that your main characters are difficult, divisive, or downright unpleasant. Here, we look at how to keep audiences (and readers) engaged if there’s no one to root for…
Plenty of successful films have unlikable and/or unsympathetic protagonists. In fact, that’s often the hook or the emotional driver. A prime example is Raging Bull (1980), where the point is the self-destruction. Like a car wreck, we watch to see this boxer with so much potential in the ring get destroyed by his demons.
However, for many stories, if there’s no one character for audiences to latch on to, root for, or who supplies the emotional heart of the story, it can lead to a dramatically underwhelming script.
While this site focusses on film, the issue is even more problematic with TV, when the story unfolds over a longer time frame and may involve various points of view.
In a world where the success of shows depends on people watching the whole series (ideally in one sitting) and competition for attention is intense, a story without heart can pose a problem.
A recent example is Hulu’s Good American Family (2025), a true-crime inspired show that concerns the Barnett family, which adopts a young Ukrainian girl with dwarfism who – it turns out – may or may not actually be an adult.
Each of the eight episodes focuses on the various characters and their viewpoints, which (as a lengthy disclaimer ahead of each episode underlines) remain disputed by those involved.
Unfortunately, none of the main characters is particularly likable or sympathetic. As the complex story unfolds, this makes it harder for audiences to emotionally engage.
This is exaggerated by the ‘Rashomon-style’ narrative structure, which constantly shifts our view of who these people really are*. By presenting such radically different character portrayals, viewers are merely left with a curiosity as to how it all works out, rather than emotionally investing in the outcome.
This article isn’t a review of the show, so we’re not going to delve into the production or the creative choices. However, it does prompt a discussion about how to deal with compelling real-life tales which feature hard-to-like characters.
Working with unlikable and unsympathetic characters
Unlikable and unsympathetic are not the same thing. Audiences don’t necessarily need to like a character in order to connect with them. Admiration, pity and identification are among the ways that writers can evoke an emotional response.
Generally speaking, characters should be flawed but also relatable. Characters who are too good can come across as unbelievable and emotionally one note – how does a character arc if they’re already fully realised?
If we create original stories, it’s easy to tailor characters which hit the right emotional notes. However, when working with fact-based stories, there can be tension between staying faithful to the original material and crafting characters who appeal to audiences (and engage readers).
Here are some ways in which writers can overcome the problem of having the narrative load shouldered by unlikable and/or unsympathetic characters.
Redemption plots
The whole point here is that the character learns to be a better person over the course of the story. So, in this case, it’s crucial that we see the character in a negative light so they have space to grow. It also requires a structure that signals potential for change early on, even subtly. There is also the non-redemption plot, where a character’s lack of personal growth is the point – we see them get tested and fail.
Examples: Frank Abagnale in Catch Me If You Can (2002) is a fraudster who finds redemption by (*spoilers*) helping to catch criminals just like him. However, in The Wolf of Wall Street (2013), Jordan Belfort remains a charismatic antihero whose redemption is purely superficial, while Theranos founder Elizabeth Holmes in The Dropout (2022) remains cold and delusional.
Perspective
Sometimes, seeing an unlikable or unsympathetic protagonist in a different light softens an unsympathetic character. In Good American Family, the character of Natalia (*spoilers*) is presented in various ways:
- needy little girl seeking a loving family
- adopted kid from hell
- adult with dwarfism pulling an audacious scam on the innocent family who adopted her
- helpless child with special needs cruelly abandoned by an (allegedly) abusive mother
- survivor who came through an awful start in life
With each shift, we see the character in a new way – but we’re never entirely sure which is the real Natalia.
Example: An example from film is I, Tonya (2017), which reframes Tonya Harding’s through conflicting POVs of the notorious ice skater.
Backstory reveals
Flinty and downright unpleasant characters can become more sympathetic as we learn more about them. This may come out in different ways, including flashback.
Examples: In Saving Mr Banks (2013), the flinty author PL Travers is softened when we learn about her relationship with her father. Meanwhile, in The Penguin Lessons (2024), the unpleasant, sad-sack protagonist is humanised when we learn about a past tragedy. A more extreme example is Monster (2003), which manages to humanise (at least to some extent) serial killer Aileen Wuornos by revealing her traumatic life.
Secondary characters
An unlikable and/or unsympathetic protagonist may be offset by a prominent secondary character who either brings out a different side to the lead, gives the audience an emotional anchor or a moral contrast.
Examples: In The Social Network (2010) Eduardo Saverin provides a contrast as the decent and grounded best friend to the less sympathetic Mark Zuckerberg. Likewise, the naïve McDonald brothers in The Founder (2016) offer an sympathetic counterpoint to Ray Kroc as he builds his fast food empire. Conversely, in Foxcatcher (2014), US Olympic wrestling champion brothers Mark and Dave Schultz amplify the dark side of multi-millionaire John du Pont.
Character traits
You might have heard of Save the Cat! (the popular writing method). Its name comes from the idea that if you open a movie with your protagonist doing something heroic and likable, the audience will forgive them later bad acts or nasty character traits. Even working in a few moments of vulnerability or humour can soften a ‘difficult’ character.
Examples: A series of TV interviews work to bring out a degree of humility and contriteness from obstinate ex-president Richard Nixon in Frost/Nixon (2008). In Bohemian Rhapsody (2018), flamboyant Queen frontman Freddie Mercury is portrayed as flawed but also vulnerable.
Charisma
Audiences are more likely to forgive an unsympathetic protagonist if they’re fun to be around. This is most apparent with antagonists, who are commonly more entertaining than the protagonist (villains in superhero movies, for example). It can also be effective if the character invites the audience to come along with them and even make them accomplices. A typical device used to convey this is voiceover.
Examples: Two effective uses of voiceover in this context are (fictional) killer Patrick Bateman in American Psycho (2000) and mobster Henry Hill in Goodfellas (1990) – each of these characters draws us in to their worlds and the violent acts they commit.
Overall…
Unlikable and unsympathetic characters don’t have to be a problem if you adopt a plan to ensure audiences can connect with them or – alternatively – lean into their bad traits and use them to your advantage.
Not all stories (fact-based or original) hinge on audiences becoming attached to your characters. However, if your script lacks emotional engagement, it runs the risk of keeping anyone who reads it at arm’s length.
Ultimately, films (and TV shows) are about characters who make choices. Without some level of connection to the main character/s, audiences have less of a reason to care why these choices are being made or investing in the outcome.
When you’re working with such intriguing material as Good American Family, that’s less of an issue, as the (well-publicised) story itself provides the crutch which supports the drama and papers over some of the dramatic cracks. But in most cases, the fact-based source should go hand in hand with engaging characters who go on a compelling journey which audiences care about.
Writer take-aways
When dealing with unsympathetic fact-based characters:
- Redemption is one of several tools – along with vulnerability, humour, moral contrast. empathy, fascination or character connection.
- Partial or ambiguous redemption can be more satisfying (and honest) than full absolution.
- Point-of-view matters – are we seeing the character from the inside (subjective), outside (objective), or both?
- Tone and structure – a framing device or tools such as voiceover and flashback can generate empathy without compromising the truth.
- Introducing information and backstory (at the right time) can soften a character, give audiences insight into their mindset, and show them in a different light.
*Rashomon (1950): Akira Kurosawa’s classic film about a crime which is recounted from different perspectives by various characters.