Works-in-Progress Update and Getting Naked

Sci-fi novel Elevator People

First draft still in-progress. Still one to two chapters away from completion. I spend more time thinking about why I can’t finish the story than I do trying to finish the story. Which is a stupid way to spend my time. But there you have it. My theories as to what my problem is:

(a) I don’t want to kill off the character who’s probably gonna die in the last chapter.
(b) I’ve been spending too much time on social media, and it’s rotted my brain.
(c) The antagonist kicks the bucket too soon, and that’s made me lose momentum.
(d) Part of me thinks I should slog through and finish the first draft as-is, then go back and fix the problems.
(e) Part of me thinks I should fix everything I can fix and then finish the story.
(f) I keep wanting to play with sparkly new story ideas for my Legends of the Light-Walkers universe.
(g) I have ennui.
(h) ALL OF THE FREAKING ABOVE.

Dash it all.

Sci-fi short story “The Mercy and the Schadenfreude of the Soulless”

Yes. That is the actual title.

My beta readers have finished the story, and their response has been overwhelmingly, blush-elicitingly positive. Which, of course, makes me panic that these two people, whose opinions and clear views of life I generally trust, are, just in the case of my story, wholly blind to reality and deceived as to the merits of my story. Which makes me an angsty, ego-driven writer, I suppose, but then, what else is new?

Tonight’s blog post is, apparently, brought to you by Courtney’s Penchant for Commas. You’re welcome.

Anyway, edits on TMatSotS are going well, and I plan to have it done and turned in to Tony by the end of the week. BANGERANG.

Advice

Especially in the shower.

Especially in the shower.

Death and Mayhem: How To Kill Off a Character

The Background of a Murder

So. As you know, my dear inklings, I am delightedly immersed in edits on the sequel to Rethana’s Surrender, my first epic fantasy novel.

If you recall, R’s S and its sequel began life as one whole book. But in the interest of maintaining a reasonable publishing process, I elected to split the book in half.

This led to a fairly cramazing cliffhanger ending for R’s S, if I dare say so myself. ; )

Anyway, now that I’m working with great vigor* on the sequel, I’m discovering several discoveries. One of these is that I used to use a lot of words.

Okay, so that’s not really a discovery. I already knew that. I think we all already knew that.

The Because of a Murder

But no, one of the genuine discoveries is that I wrote into the story several large gaps that need filling. At this point, I’m looking at two to four chapters of new material.

On one hand, this is frustrating because it negates my efforts not to let this book grow into a MEFaN**. But ah well, I guess you can’t win ’em all. Mostly, I’m enjoying the generation of new material. So all is well on that particular home front.

The other discovery that initially dismayed but then thrilled me is that I’ve got several subplots that could use tidying and then tying up. And in one of these subplots, I get to kill off an unlikeable character.

Now, when I say “unlikeable,” I mean that he does not have an endearing personality at all. I like him because he’s a clear, well-defined character to me. Even villains are likeable if they’re written well. And from readers’ reactions to him, it seems I’ve done a pretty good job delineating him.

In the sequel to R’s S, I am going to kill him.

Because he’s a “spineless little fraction of a man” (a beloved quote from the beloved movie Far and Away).

And, so as to sort-of avoid spoilers, that’s all I’m going to share concerning his identity. I’m a tease like that.

The Body Anatomy of a Murder

(Strikethroughs are the enemy of alliteration.)

So, how does one go about killing off an unlikeable (subplot) character?

I have a few thoughts.

1. Prior to the murder, establish him as a strong (subplot) character.

One way or another, you’ve gotta write this guy so that your readers have already had emotional reactions to him. If he’s likeable, his death must have a significant, negative impact on your main character. (This presupposes that you’ve done your job in making your readers care deeply about your MC.) If he’s not likeable, his death must have a significant, positive impact on your MC.

If your readers don’t already know that this guy is significant to your MC, then…

A. …there’s no point in killing off the character, and…

B. …there’s no point in that character’s existence in the first place, so you might as well just cut him from the story altogether.

TAKEAWAY:
If you want to kill him off, make sure he’s significant. If he is, murder away. If he isn’t, either erase him from existence or up your ante.

2. Select the right point in your story for this murder.

This one might be tricky, because the “right point” will vary from one story to the next. For me, the “right point” is also a turning point for Rethana, my MC. And hooooo boy, am I taking a risk here in trying to explain this without spoilers!

In the R’s S sequel, the death of Unlikeable Character catapults Rethana into action in a situation in which she feels completely helpless and isolated. She hasn’t exactly been wallowing, but she’s been pretty much frozen with fear. Unlikeable Character’s death provides the catalyst that thaws her out and gets her moving again — not because the death horrifies her, but because the death is proof that her real enemies mean the most serious business.

And if you keep in mind that one of Rethana’s main motivations is protecting her sister Chel, you’ll know that this “serious business” could impact Chel in a particularly dire way.

And that’s all I have to say about that. ; )

TAKEAWAY:
Your murder should so significantly impact your MC that it causes MC to react in a powerful way. If she’s stationary, it should force her into action. If she’s mobile, it should force her into more intensive action. And you, writer, must keep in mind that the action she chooses might not be the smartest one.

(In fact, it probably shouldn’t be the smartest one. There’s nothing more readable than a main character who doesn’t make wise choices until the end. And maybe not even then!)

3. Pick the right murder weapon.

No, I’m not talking about candlestick vs. rope vs. revolver (although the actual weapon might play a role, depending on the story circumstances). By “weapon,” I mean the following question:

Just how is Unlikeable Character going to perish?

Is the death gruesome? Is it peaceful? Is it a murder, a mercy killing, an accident, an execution?

By whose hand does this take place? Another side character’s? The MC’s? Or is it by Unlikeable Character’s own hand?

Will Unlikeable Character die carelessly? Awkwardly? Cowardlyly? Will his dishonorable death confirm everything your MC has always thought about him?

Or will he die gracefully? Honorably? Will he redeem himself in the end, thereby causing MC all sorts of moral discomfort?

TAKEAWAY:
Before you, writer, commit murder against your character (Likeable or Unlikeable), you must decide upon the manner of his death and figure out the emotional impact of his death on your MC.

The Brief of a Murder

Who?

Where/When?

How?

Answer these questions both for yourself and for your readers, and your hands will be well-soaked in the blood of your (subplot) character — and, like Lady Macbeth, you’re not likely to get any of it off. Congratulations!

______

* vigor = whatever energy and focus are left me beyond the task of putting together a human inside my abdomen

** MEFaN = Monster Epic Fantasy Novel (i.e. doorstop)

P.S. I wrote most of this blogpost on my cell phone in a waiting room. Living in the future is pretty fracking cool.

P.P.S. On my phone, autocorrect wanted to change “myself” to “musket,” as in: “if I dare say so musket.” In Rethana’s universe, muskets would be quite the anachronism. Unless Kryeis were the one hauling them around…hmmm….