Part Two: Top Ten Villain Songs

Yesterday, I post my Top Ten Villain Themes based on one of the best and most challenging assignments I've ever had. Today I'm going to post my Top Ten Villain Songs.
 

If you missed yesterday's post, a villain theme is instrumental (maybe with some unintelligible vocal embellishment) and a villain song has versed lyrics.

Things to consider while choosing the top ten, included:

1 - Is the whole piece dedicated to a single character or group, not an event in the story?
2 - Does it tell who the villain is as well as their ambitions and purposes?
3 - Does it match their character(s)?
4 - Do you know who it belongs to in the first few notes? how famous is it?
5 - What Degree of Villainy is felt throughout the piece.
6 - Does it get stuck in your head?
7 - Can it survive without visuals to convey the villain's character/purpose? For songs, are lyrics specific or ambiguous, requiring the illustrated visuals in order to be understood? - See more at: http://srford.blogspot.com/2014/06/top-ten-villain-themes.html#sthash.K5FYzuv1.dpuf

1 - Is the whole piece dedicated to a single character or group, not an event in the story?
2 - Does it tell who the villain is as well as their ambitions and purposes?
3 - Does it match their character(s)?
4 - Do you know who it belongs to in the first few notes? how famous is it?
5 - What Degree of Villainy is felt throughout the piece.
6 - Does it get stuck in your head?
7 - Can it survive without visuals to convey the villain's character/purpose? For songs, are lyrics specific or ambiguous, requiring the illustrated visuals in order to be understood?

Unlike the villain themes I had no reason pick a runner-up villain song; however, there are many honorable mentions that could be made. I guess villain songs just tend to be among the most masterfully composed pieces.

Please remember, the linked videos are connected to YouTube. They are for people who aren't familiar with the songs mentioned, but the songs on them are not owned/copyrighted by the uploader. The music belongs to the composer, lyricist, and the recording/movie companies involved with each production. The videos are use at your own discretion and risk, and they may go away after a while.

Anyway, without further ado, here are my picks for the Top Ten Villain Songs:


#10 - Mother Gothel - "Mother Knows Best" (and its reprise) - Tangled (2010)

Music by Alan Menken. Lyrics by Glenn Slater. Sung by Donna Murphy.
I often wonder how many children lost trust in their mothers after watching Tangled. I mean, come on; the entire song is a mother telling her daughter how much she loves and cares for her when in truth they really aren't mother and daughter and Gothel only wants Rapunzel around as a slave to her will so she can use her powers to keep living forever. Gothel cares absolutely nothing about Rapunzel, she only wants her magical hair to remain undiscovered and unscathed. The overly generous professions of love are used to make the abuse Rapunzel suffers to look like some playful jest. The entire song and its reprise are the story of Mother Gothel's self-serving and manipulative character. Gothel is characterized by her cunning. She uses love, affection and concern to hide her completely selfish designs and to immobilize Rapunzel's adventurous spirit.

#9 - Once-ler - "How Bad Can I Be?" - The Lorax (2012)

Music and Lyrics by John Powell and Cinco Paul. Sung by Ed Helms and Kool Kojak.
When the rock-n-roll song begins the Once-ler is a fresh new businessman who hopes to build a thriving business and is trying to placate his guilty conscience. He has just given in to familial pressures and broken a solemn promise to protect the land and lives around him, and now wants to prove to himself that he's not a bad person. However, as the song progresses the Once-ler becomes lost to his greed, throws away his old promises completely, and turns into a money-obsessed monster. By the end of the song he has literally destroyed the natural world and his own business plan through unrestrained consumption. The song is the story of one man's demise and the drastic damage his villainous greed reaped on the world for generations to come. All he could do to cover his tracks is build the wall around Thneedville to hide his legacy. Then he chooses to live alone for the rest of his life, with no intention of turning things around of his own will, even though the seed to do so is there with him.
 Originally, "How Bad Can I Be?" was going to be a rock opera entitled "Biggering" which spends more time deciphering the Once-ler's actions. It's worth a listen, but I think "How Bad Can I be?" is much more villainous, corrupting, and addictive. It latches onto the inside of your head pretty well.

#8 - Oogie Boogie - "Oogie Boogie Song" - The Nightmare Before Christmas (1993)

Music and lyrics by Danny Elfman. Performed by Ken Page and Ed Ivory.
This song is just addictive. The jazzy tune and more spoken than sung lyrics really bring this gambling bogeyman to life. The entire song is about gambling over lives and killing and eating Santa Claus in a casino-themed torture chamber. Can it get more villainous than that? He's trying to destroy the spirit of Christmas for crying out loud!

#7 - Judge Claude Frollo - "Hellfire" - The Hunchback of Notre Dame (1996)

Music and lyrics by Alan Menken and Stephen Schwartz. Sung by Tony Jay.
This song is intended to be the antithesis to Quasimodo's "Heaven's Light." Whereas Quasi sings of how radiant and good Esmeralda is, Judge Frollo sings of her being a siren, a witch, and a viper. This song digs into a dark piece of Christian history (the often genocidal war against the gypsies (the "heathen")) as well as the lustful cravings of an old man. (Ew!) Anyway, Frollo, who never understands that his vantages and beliefs are often at odds with the will of God and the church, begins by praying for the lust he feels to be taken away; but as the song goes on, his prayer corrodes into an ultimatum as he begins to place all the blame on the Devil's power: "Choose me or your pyre!" He vows to burn down Paris just so he can find Esmeralda, and burn her along with every gypsy he can find if she refuses to marry him. What's worse is that Frollo sees himself as God's justice, quoting scripture repeatedly as if to make his very evil acts into a holy duty.
As far as the music goes, tell me it isn't chilling and addictive. I dare you. ;)

#6 - Scar - "Be Prepared" - The Lion King (1994)

Music by Tim Rice. Lyrics by Michael Jackson. Sung by Jeremy Irons with Whoopi Goldberg, Cheech Marin and Jim Cummings.
First off, this song was sung by Jeremy Irons. That alone makes it awesome. But then you consider that Scar, a type of seditious Hitler, whips a vast pack of hyenas into the Third Reich in less than four minutes and you know you've found a villain song gem. He even insults them the whole time and they still jump on his bandwagon of kingship. I love the way the song begins with Scar talking quietly to himself about the potential following he's found in the hyenas, as well as the way the song builds as Scar gains confidence and the hyenas become more enveloped in his scheme. The music for this song has that chanting type of build that carries the growing enthusiasm of Scar and the hyenas for the plan they are about to unleash

#5 -  Ursula - "Poor Unfortunate Souls" - The Little Mermaid (1988)

Music by Alan Menken. Lyrics by Howard Ashman. Sung by Pat Carroll.
For a cast off sea witch to become a mischievous diva, you know it's going to take something good, and kudos to Menken and Ashman for creating just the thing. Throughout the course of the showtune, Ursula spells out a story of repentance and warmth, a desire to serve, while whispering the exact opposite in brief lines to her "poopsies" Flotsam and Jetsam. She, like Gothel, also plays on Ariel's feelings by talking about how helpless she is, except that, unlike Gothel, Ursula is trying to jeer Ariel into action. Sometimes this song is better without the visuals, because seeing an octopus-witch make sexually suggestive motions is a bit scarring; but if you think about it, how else is she going to win Ariel's voice without giving her another way to gain Prince Erik's attention? The basic tone of this song is, "I'm going to screw you over so badly you won't even know what's happening until you're a trophy on my wall." That's pretty bad... you've got to admit it.

#4 - Lock, Shock & Barrel - "Kidnap the Sandy Claws" - The Nightmare Before Christmas (1993)

Music and lyrics by Danny Elfman. Sung by Paul Reubens, Catherine O'Hara and Danny Elfman.
This song had to be the top. It just had to be. It's so morbid! Have you ever noticed how scary demonic children/childlike things are? Children are naturally associated with cuddling, innocence and trust; and I think that's why this song ranks so high on the list. Lock, Shock and Barrel are little, morbid monsters. In many way this song is more frightening than "Oogie Boogie's Song" because of the specifically enumerated things they want to do to Santa Claus. Even though they say they're terrified of the bogeyman and want to please him at all times, they surely seem more lethal. The torture and murder plans they debate for Sandy Claws are nothing short of deranged and the music of the song sends shivers up and down your spine.

#3 - The Landlord - "This is My Garden" - The Garden (1995)

Music and lyrics by Michael McLean and Bryce Neubert.
The Garden is a Christian parable concerning the human family and the need for Jesus Christ's sacrifice and resurrection. The world is compared to a garden; a ram in at thicket, a barren tree, an unsprouted seed and a millstone represent different types of people; a gardener represents the prophets of God; a snake represents the devil's demons and mortal servants; a landlord represents the devil himself; and a "man with many names" represents Jesus Christ. Basically. It's actually a very interesting composition to think about. Anyway, in "This is My Garden" the landlord finds the gardener working on his land unwanted. What follows is a battle of wills between the landlord (demanding that the gardener depart and leave the garden, which he claims to love, to its corrupted and hellish destiny) and the gardener (crying out that the landlord can never claim to love the garden because of the way he treats it, and stating that he could never leave while the garden is in such a state). The fact comes down to a single point: the gardener can never fix up the garden on his own because the garden is so far out of control and it continues to get worse and worse with each passing to day thanks to the animals in the landlord's service. The basic note is that the landlord has won and the whole garden will belong to him forever because the true owner (the man with many names) will never come home to stop him. Its a very intense bid for power, authority and a will to dominate and destroy, which sums up the Devil's campaigns very well, I think.

#2 - Hexxus - "Toxic Love" - Ferngully: The Last Rainforest (1992)

Music and lyrics by Thomas Dolby. Sung by Tim Curry.
Even though Ferngully is one of the most rubbish shows I ever saw as a child, I will never forget the love affair Hexxus, essentially the God of Pollution, has with his art. And as I get older and I understand elements of Tim Curry's performance ever more, this villain song becomes even more perfect. Hexxus is a monster that requires pollution in order to grow and thrive. It's the sweetest candy he can imagine, and he wishes to swim in it endlessly like some humans wish to swim in a pool of chocolate or jello. He loves the destruction he reaps so much that it becomes the greatest pleasure to him. The destruction of life is the entire purpose for his existence and so he gets nothing but pleasure from it--its borderline sadism with a heaping side of fetishism, which is about as creepy and villainous as you can get. And that laugh at the end... yeah, that's a pretty good maniacal laugh.


And finally we reach the decisive moment. Which villain song will take its place at #1? That would be...


#1 - Erik (The Phantom) - "The Phantom of the Opera" - The Phantom of the Opera (1986)

Music by Andrew Lloyd Webber. Lyrics by Charles Hart. Additional lyrics by Richard Stilgoe and Mike Batt. First sung on Broadway by Michael Crawford and Sarah Brightman; sung in 2004 film by Gerard Butler and Emmy Rossum.
Though his name is never used in the musical production, Erik's theme is instantly distinguished by the very first chord. One of the few villain themes that also serves as the theme for an entire production, "The Phantom of the Opera" is dark and aggressive, but it is also hypnotic and seductive, haunting and hopeful. It perfectly captures the tortured soul of the Phantom and his overpowering presence. It includes his mannerisms and personal cravings, but doesn't neglect to reveal his love of and dedication to Christine nor his desire for her to succeed in her career while remaining at his side forever. Because it answers all of the criteria questions wonderfully, is so famous and so exquisitely captures the Phantom's entire character, I am glad to call this the Number One Villain Song.

Those are my Top Ten Villain Songs. What do you think? What are your top ten? Comment below or email me.

(Again special thanks to all those composers, lyricists and vocalist who bring villains to life in a way that sticks in your mind unforgettably. And also a special thanks to the YouTubers who shared these soundtracks on their channels so that I had examples I could link too.)

Part One: Top Ten Villain Themes

The last couple of weeks I have been working on a paper about the impact of music on movie/TV villains and the difference between villain songs and villain themes, the main division between songs and themes being lyrics versus instrumentals/lyric-less chorals respectively. As the closing part of this assignment, we were challenged to create a top ten list for each group. It was very difficult because we were given a list of over 300 songs and themes to go through, spanning everything from the Powerpuff Girls to Terminator and from Swiper the Fox to the Daleks. Needless to say, there was a lot to go through and I had to broaden my horizons even further.

And that's not all! There were guidelines too!
1 - Is the whole piece dedicated to a single character or group, not an event in the story?
2 - Does it tell who the villain is as well as their ambitions and purposes?
3 - Does it match their character(s)?
4 - Do you know who it belongs to in the first few notes? how famous is it?
5 - What Degree of Villainy is felt throughout the piece.
6 - Does it get stuck in your head?
7 - Can it survive without visuals to convey the villain's character/purpose? For songs, are lyrics specific or ambiguous, requiring the illustrated visuals in order to be understood?

Are you curious which ones I picked? Good! But I think I'll split this into two posts. Today I'll cover the Top Ten Villain Themes, and in my next post I'll cover the Top Ten Villain Songs. Sound good? Excellent! Then let's get started.

I was forced to choose eleven themes, because one of the pieces I listed in the Top Ten fell into a category defined as "Not Really a Villain", mainly because the character lacks an evil drive. It is more of a force of nature that must be overcome while other characters in the film better reflect the traits of a "villain". However, since the character is listed in the ranks of villainy the piece had to be partially acceptable.

(Also, the linked videos are connected to YouTube. They are for people who aren't familiar with the music mentioned, but the music on them is not owned/copyrighted by them. The music belongs to the composer and the recording/movie companies involved with each movie. The videos are use at your own discretion and risk, and they may go away after a while.)

With that said, let's begin:

#11 - Saruman - "The Treason of Isengard" - Howard Shore

From The Lord of the Rings: The Fellowship of the Ring (2001). Does this piece involve a scene in the movie? Yeah... but this is really Saruman's theme. It's the piece that encompasses the fall and betrayal of a very powerful friend into the leagues of the enemy. It involves all of the deception Saruman uses against Gandalf before unveiling his wicked side and his new dedications. The tragic thing about Saruman is that after this scene, he becomes swallowed up in the themes of the Uruk Hai--illustrating perfectly how he transforms from a great leader to another undervalued pawn in the workings of Sauron of the Deceiver. He's not even good enough to equal the nine Nazgul, who at least share part of Sauron's own theme.

#10 - Jaws - "Jaws: Main Theme"- John Williams

From Jaws (1975). This is that piece I was telling you about. Jaws isn't really a "villain". The shark is more of a natural phenomena to be overcome and survived, like a tornado. However, he is definitely out to get some food and is the hearty antagonist of the well-known movie. And when your theme because the basis for an entire soundtrack! Come on! You know you've left an impression. And who doesn't instantly recognize that suspenseful beat?

#9-James Hook, Capt.-"Presenting the Hook"-John Williams

From Hook (1991). Yes, this piece too covers a scene; however, the scene is part of the magic of Capt. Hook and the visuals aren't really needed to catch the flamboyant character of the Steel-handed Stingray. In the movie Mr Smee is seen going to collect the iconic hook from a smith and then carries it through the pirate village gathering an enormous following as he takes it back to the Jolly Roger. The flamboyance of the piece matches the captain well--his well-dressed appearance, formal mannerment, commanding presence, charismatic speech patterns, and sly yet fiery style, all cloaking his heartlessness. The music is great, and it doesn't have to be purely evil either. (Not to mention Hoffman's character first appears with the hook in place keeping time to the music while the men chant his name. How cool is that?)

#8 - Mewtwo - "The Birth of Mewtwo" - Ralph Schuckett, John Loeffler, John Lissauer, and Manny Corallo

From Pokemon: the First Movie - Mewtwo Strikes Back (1998). Yes, it's from Pokemon of all things. But if you think about the movie, the story is very relevant to our day when genetic sciences are testing all sorts of things with cloning and enhancement. Basically, Mewtwo, like the dinosaurs of Jurassic Park, was created by genetically enhancing and cloning the DNA of a supposedly extinct Pokemon called Mew. (Hence, the unimaginative name Mewtwo). When he awakens with superhuman intelligence and telepathy only to learn that he's a laboratory experiment intended only for study and life in a cage, Mewtwo goes on a rampage, destroys everything, and assumes a manifest destiny that his purpose is to extinguish human life and create a race of genetically-superior clones to rule the world. (There's propaganda everywhere.) Anyway, the music themed to Mewtwo echos his movement from innocent inquiring, through his developing bitterness, into the berserk psychosis he carries for the rest of the movie until he is magically turned around and made to see the light......yeah, yeah, yeah... all that butterflies and sunshine stuff. Anyway, the music is quite intense when it finally reaches the point that it really becomes Mewtwo's theme, and is used thereafter whenever something malicious and explosive happens.

#7 - Tom Riddle - "The Face of Voldemort" - John Williams

From Harry Potter and the Sorcerer's Stone (2001). There's no doubting that Voldemort is a famous baddy thanks to the fame of J.K. Rowling's books and the magical movies made by Warner Bros. Pictures. But when you compare the theme of Voldemort in the first three movies (composed by John Williams) against that in the fourth (composed by Patrick Doyle), and then against the fifth and sixth movies (composed by Nicolas Hooper) and the last two (composed by Alexandre Desplat and Conrad Pope), you notice very distinct differences, each arising from the differences between each composer's tastes and their desire to make the music slightly more their own. The original theme Williams composed for Voldemort is, in my opinion, the best and most iconic. It focuses more on the malevolent sinister side of Tom Riddle, whereas the later versions seem to focus on his psychopathic bloodthirsty side (his craziness as I call it). Williams' is deep and pronounces both the similarities and extreme differences between good and evil magic, whereas the later themes are more shrill and purely evil.

#6 - Norman Bates - "The Murder" - Bernard Herrmann

From Psycho (1960). By far one of the most well-known themes in the world. And it ought to be. Herrmann gave Norman Bates a dark tragic theme that's spliced in with that iconic high-pitched screeching that calls to mind the blade of a kitchen knife. His theme will drive the chills down anyone's back, especially when you're wandering through a dark house or think you're otherwise alone. It is the music of a sudden attack and a painful death.

#5 - Buu - "Scary Buu" - Bruce Faulconer

From Dragonball Z: The Buu Sagas (2003). Yes, once again we find a piece from the realms of Anime. When he first appears in the series, Buu is resurrected by a wizard named Babidi, whose father Bibidi created the monster to begin with. (Yeah, I know, unimaginative again... Bibidi Babidi Buu... where's Disney to scream about Cinderella? Or maybe its just a craftily done homage? You decide.) Anyway, the first Buu we meet is a childlike fat Buu who has an upbeat chiming theme and isn't as evil as you might think...he's just hungry. But then in an attempt to release all of his anger when an assassin tries to kill his friend and his puppy, Buu expels all of his evil and it manifests in a tall skinny Buu, who then eats the fat Buu. From there, the story progresses to reveal that Buu has had many forms, which he gained after absorbing a different powerful individual. One by one each form is overcome until Goku and co. are left with the original Buu, a kidlike being, to defeat. The character of Evil Buu is summarized in his patient evil. He can wait for the target he most desires to present itself or destroy one thing after another until he find it. He's extremely powerful and frightening, but also patient. Another thing I enjoy about his theme is that it is carefully adapted for each of this forms and for when he fights/attacks. The music was utilized very well.

#4 - Darth Vader - "The Imperial March (Darth Vader's Theme)" - John Williams

From Star Wars Episode V: The Empire Strikes Back (1980). You knew this was coming. By far one of the best known pieces of music on the planet, it is only fitting that it belongs to one of the most well-known villains. That imperialistic style and formal composure perfectly suit the faceless, unforgiving nature of Mecha-Anakin. There's no toying around with Vader or the Galactic Empire, and this music reflects that excellently. I don't see the need to say more.

#3 - Davy Jones - "Davy Jones" - Hans Zimmer

From Pirates of the Caribbean: Dead Man Chest (2006). Davy Jones is the only character in Pirates that really deserves any pity in my opinion. He gets the shaft every time he turns around. He took a job to show his love and commitment, and his lover/boss abandoned him. So like most people would do, he quit. But he couldn't escape the post and because he stopped doing his job he was transmogrified into a living sea monster along with his entire crew. From then on, everyone is after his heart so they can kill him in hopes of gaining control of the seas, immortality, or both. With everything special taken from him, he became a product of his experiences: the shaft of death. He became a cruel, unfeeling monster, master of the sea. He became the shaft to every seaman's best hopes, the thing no one wanted and everyone cursed. The way his theme transforms a loving music box melody into an intense organ battle, perfectly exemplifies who he is and what he desires. It also gets stuck in your head pretty easily, and makes everyone wish they knew how to play the organ.

#2 - Darth Sidious - "The Emperor's Throne Room" - John Williams

From Star Wars Episode VI: The Return of the Jedi (1983). Whereas Vader is known for the hardcore, cruel force he is in the Empire, Darth Sidious is far more cunning. He doesn't choke people on a moment's notice like his apprentice; he lures people in and tries to turn them to his side. He is a master sorcerer of the Dark Side, who prefers to torture people to death instead of just ending them. He plans his moves with great care always relying on the Dark Side to grant him foresight. He's a haunting presence whose face and voice alone can make your skin crawl. With all of this in mind, his theme is perfectly suited to him as well. It's malevolent and mysterious, creepy and dark, just like the Emporer himself.

and finally.....

#1 - Sauron - "Minas Morgul" - Howard Shore

From The Lord of the Rings: The Return of the King (2003). Though Sauron's aggressively haunting theme occurs from the very opening of The Lord of the Rings trilogy, "Minas Morgul" is the first track entirely dedicated to it. Sauron's theme is sometimes extended out to the Nazgul and the Realm of Mordor, but every time it is used it is directly linked to the Dark Lord himself. Personally, I was surprised when this made it to number one. I hadn't expected it to. But as I continued to go through music this one always topped out. Why? Well, it's famous for sure. There's no doubt about that. But it's also more sinister than "The Imperial March" and more forceful than "The Emporer's Throne Room". It's less pitiful and more purely evil than "Davy Jones" too. It's like the perfect combination of the three. It has all the cruel, magical elements; the frightening screeches; the commanding harshness; and the "you really don't want to get in my way or I will undo you" quality. It even has a harkening effect to the attacking feel of "The Murder" from Psycho and the suspense of Jaws. I guess the best way to say it is: if you mashed together every other piece on this list, Sauron's theme is quite likely to be one of the outcomes. Quite fitting for a Maiar who fell to become the right hand of the devil himself (Melkor/Morgoth). (Can you imagine what Morgoth's Theme would have to be like? I think it might be fitting for them to share the same theme since Sauron really was just a shadow of his master.)
Anyway, I do have to note as well that if you listen to the theme music prescribed to the Nazgul in pieces like "A Knife in the Dark", you will notice that it is a more aggressive branch off of Sauron's own tree. It's obvious that they are the cruel whip in Sauron's hand, just as Vader is the forceful commander in the hand of the Emperor. The Nazgul would've been on this list if it wasn't for that point. The Nazgul are really only extensions of Sauron's malice and control.

Sauron's theme is definitely my pick for the #1 Villain Theme. Kudos to you, Howard Shore. Kudos indeed.

So there you have it. Those are my top ten. What are yours? Do you like or hate any of my choices? Please comment below, and make sure to offer your own supported opinions. Next time we'll get into villain songs.

(Special thanks to all those composers who bring villains to life in a way that sticks in your mind unforgettably. And also a special thanks to the YouTubers who shared these soundtracks on their channels so that I had examples I could link too.)

June: The 99-Cent Kindle Month

Looking for something to read over the summer that won't cost you all of your vacation money? Need something to read while you travel, lounge, or bathe yourself in the sun? Then this is the month for you.

I've selected June 2014 as a 99-cent Kindle Month--meaning that throughout the course of the month you will be able to pick up each of my books in Kindle edition for just $0.99 USD.

It all takes place on Amazon.com.

So mark your calendars and miss out:

The Kingdom and the Crown (Kingdom Chronicles, 1)

June 5-10, 2014

 


The Elements and the Exodus (Kingdom Chronicles, 2)

June 16-22, 2014

Mimgardr (Oblivion's Gate, 1)

June 23-29, 2014

The Best Writing Advice

Anyone who dreams of writing a book or a poem, a song or an essay, can find literally thousands of "top tips" articles scattered across the internet, magazines, groups, and books. Advice is everywhere, and each advice giver claims theirs is the best.

Well, today is my day. I think my advice is the best. Why? Because it keeps you focused on what really matters. If you observe this piece of advice, and let all of the other bits find their place behind it, you will never go wrong.

The best advice in the world for anyone who wants to write right is two words:

Just write.

The beautiful thing about writing is the revision process; you can always go back and do things over again. So if you afraid you're going to make ten thousand mistakes, cool. If you've caught the Writer's Block, cool. You're just like everybody else. Neither of these things is really an excuse to stop writing.

If you're not sure how the next part of your work should go, try forcing something out. Then do it again. And maybe even a third, fourth, and fifth time. Give yourself some options to test. Perhaps none of them is right, but they'll get your mind headed in the right direction. And if you don't feel comfortable doing that, skip the part you're stuck on and write the part after it. Then go back and tie the two together. There are many routes to take, just keep writing.


As far as I can tell, there are two things that will kill a writer's dreams: 1) believing you have to have everything perfected before you write it down, and 2) stopping. If you stop writing, it will become your escape. Every time you feel stressed about writing, you'll just quit. Your work will never progress, you'll lose heart and eventually your dream of writing will fall by the wayside.

Never stop writing. If you get yourself in a pickle...

Just write.

Writing anything that keeps you going, and eventually the pickle will pass.