How Could You Do This to Me? When Characters Betray Other Characters

By Janice Hardy

Betrayal can come in many forms, and most of them make for great stories.

The "unexpected betrayal" has always been a popular trope, but there was a time when it was everywhere, especially in young adult novels. 

The "trusted mentor suddenly turning on you" was the most common, but betrayals were coming from all quarters. Close friends, random people, family. They started to feel a bit deus ex machina to me. It was like yanking off the mask at the end of Scooby-Doo and seeing Old Man Withers.

So instead of a betrayal surprising me, I was playing the “I wonder which one of these allies will turn on the hero in the third act?” game. I knew it was coming, and more times than not, the same old "Aha! I was secretly working for the villain" was the big twist. 

The problem here...

A twist isn't a surprise when it's so common readers expect it.  

Luckily, that trend has passed, and while we do still see betrayals (they are fun after all), they're more varied and not the same Scobby Doo ending types.

But the problem was never betrayal itself, it was the lack of variety. If you look up at the word "betray," it actually has multiple meanings, and each one offers us a different way to use this trope without it coming across like a cheesy cliché.

The Backstab: To deliver or expose to an enemy by treachery or disloyalty. 

This is your standard "oh no, our trusted friend was the bad guy's minion all the time" variety. A trusted friend stabs the protagonist in the back. It's the most obvious form, and the one that got overused. It can still work, but it needs to be earned. Readers have seen this one so often that you need a really compelling reason for the betrayal, not just a shocking reveal.

The Broken Promise: To be unfaithful in guarding, maintaining, or fulfilling.

This is a great way to use a betrayal without having a character turn on another character. Protagonists rely on their friends and sidekicks, so if someone doesn't do what they promised, that can have some major ramifications. Maybe the best friend swore she'd be there for something critical, but chose not to show up—and for very good reasons.

After all, that road to hell is paved with good intentions.

The Letdown: To disappoint the hopes or expectations of; be disloyal to.

When someone lets you down, it's hard to trust them again, which is a great way to raise tension and suspense in a story. Maybe someone isn't who the protagonist thought they were, and they find this out in a horrible way that hurts them.

There's a reason parents use that "I'm not mad, I'm disappointed" line. It hurts. Even better, it hurts on both sides.

The Slip: To reveal or disclose in violation of confidence; to betray a secret.

Betraying a confidence hurts, and it's something that can happen accidentally or without any ill intent. Maybe the sidekick reveals a secret in order to help, thus betraying a confidence and an expectation of trust.

Loose lips sink ships, and it can do a lot of damage to a relationship.  

The Self-Sabotage: To reveal unconsciously something one would preferably conceal.

Characters can betray themselves, too. They might expose a vulnerability the villain uses against them, or they could falter at the worst possible time. Maybe they're trying to protect another and end up making the situation worse.

Sometimes, people really are their own worst enemy.

Betray your characters without stabbing them in the back every time.

Not only will your stories be richer, they'll be less predictable, keeping readers hooked and those pages turning. So put Old Man Withers back in retirement and give your readers a betrayal that will shock and delight them.

Have you ever written a betrayal? Does your story hinge on one? If so, what type are you using? 

*Originally published November 2011. Last updated May 2026.

Find out more about characters, internalization, and point of view in my book, Fixing Your Character & Point-of-View Problems.

Go step-by-step through revising character and character-related issues, such as two-dimensional characters, inconsistent points of view, too-much backstory, stale dialogue, didactic internalization, and lack of voice. Learn how to analyze your draft, spot any problems or weak areas, and fix those problems.

With clear and easy-to-understand examples, Fixing Your Character & Point-of-View Problems offers five self-guided workshops that target the common issues that make readers stop reading. It will help you:

• Flesh out weak characters and build strong character arcs
• Find the right amount of backstory to enhance, not bog down, your story
• Determine the best point(s) of view and how to use them to your advantage
• Eliminate empty dialogue and rambling internalization
• Develop character voices and craft unique, individual characters 

Fixing Your Character & Point-of-View Problems starts every workshop with an analysis to pinpoint problem areas and offers multiple revision options in each area. You choose the options that best fit your writing process. It's an easy-to-follow guide to crafting compelling characters, solid points of view, and strong character voices readers will love.

Available in paperback and ebook formats.

Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. The Shifter, was chosen for the 2014 list of "Ten Books All Young Georgians Should Read" from the Georgia Center for the Book.

She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy.

When she's not writing novels, she's teaching other writers how to improve their craft. She's the founder of Fiction University and has written multiple books on writing.

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