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.

It is late in the Ceausescu era in Romania, and Cristina is having a difficult time with her boyfriend. He wants her to have sex with him before he goes off to do his obligatory stint in the army. She wants him to marry her first. She also gets involved with a slightly rebellious actor, a would-be ladies' man. He has some vague plans to defect - could those be the reason he is receiving mysterious phone calls? Or are they the work of his anonymous admirer?
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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