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.

When allied troops liberate a small battle-scarred Belgium town in 1944 the American and British commanders do all they can to help the war-weary people back on their feet. There are mental and physical wounds to heal, fields to plough, the church to rebuild. But a top Nazi, knowing the War is lost, has infiltrated the town and is fostering dissent and disunity.
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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