Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

A hotel by the northern shore of Portugal welcomes its guests over the weekend. A man is torn between being present for his wife and the space that his mother takes up between the two of them. A mother encourages her daughter’s marriage to enable her own love affair with her son-in-law. Another mother lives through her daughter, preventing her from making her own decisions. Three families at the end of their cycles of acceptance.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
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