RSS

Category Archives: Novel writing

Using Humour in Fiction

Mysteries, thrillers and horror fiction can be very grim. Some authors (including me) add a little humour to lighten the load a little. But there are a few things to consider if you want to use humour in your fiction. (Note: I’m using the Canadian spelling of  “humour” because I am Canadian).

First, a big  no-no:

Don’t have your character or characters crack a lot of jokes. This isn’t stand-up comedy or a comedy TV series. There could be one exception to this – if a trait of one of your characters is to tell jokes – bad or otherwise and it fits in with the plot and this character’s interaction with other characters. But use it sparingly or not at all. It is not the best technique.

Some techniques that can work:

Your main character is a klutz. Picture a klutzy private investigator or cop or? This can bring up several scenarios that can lighten your story. It can also provide some problems for your character in their investigation. For example, your PI is snooping outside a house where nobody is home at the moment. Or maybe he or she gets into the house to look around. Instead of the family dog barking at them or charging at them, why not have the kluzy PI trip over a sleeping cat and fall down a few stairs – or how about a whole menagerie of animals – maybe he or she collides with a snake that has gotten loose from its cage? And the PI is terrified of snakes.

Or give your PI or cop, what we call a character tag and use that to create some humour as the character does what he or shee normally do. In my Beyond books, Detective Sergeant Donald Fielding stutters – not with work-related things, but with personal things that make him nervous – such as his attraction to PI Dana Bowman. He also suffers from migraines. In one scene in Beyond Blood, Fielding knocks on the door of the bedroom Dana had to sleep in overnight – not at her place as a murder and kidnapping took place there and her home is a crime scene,so Dana and her fraternal twin PI  Bast Overture are staying at a neighbour’s next door. Here’s a short excerpt from Beyond Blood with the encounter the next morning between Dana and Fielding.

Beyond Book No. 2

The pounding came from the bedroom door.

“M … M … Ms. Bowman,” Fielding said from outside the door.

Couldn’t the man give me a little privacy? I pushed the covers off and realized I was in a strange bed and still wore my party dress. Red for blood. Red. Cut it out, Dana.

“What the hell do you want, Fielding?”

“Are you d … d … decent?”

“What?” I scratched my head and yawned.

“Ms. Bowman. I need to talk to you.”

“So talk.”

“I h … h … have a ch … ch … change of clothes for you.”

“What?” I leaped out of bed, ran to the door and pulled it open.

Fielding leaned against the wall. His face resembled whitewash and red rivers flowed through his eyes. He held a plastic bag, which he slid over my way.

“Your ch … ch … change of clothes. C … Constable Nivens collected them.”

“Thanks.” I grabbed the bag. “You look like hell. No sleep?”

“Just a migraine. I get them all the time. It’ll pass.”

“Migraine. Here, come in and sit down on …” A quick glanced around the room showed an ironing board piled high with clothes standing beside a chest of drawers. A basket of clothing sat in the room’s only chair. “… on the bed.”

“No, it’s okay.”

“No, it isn’t. Migraines are awful. My mother used to get them, but thankfully I don’t. She used to blow in a paper bag, to get rid of the pain, I mean. Maybe there’s one here.” I started rummaging in the dresser drawers.

“Ms. B … B … Bowman. It’s all right.”

“Here we are.” I shook a scarf from a Fashion Shoppe bag and shoved the bag at Fielding. He ignored it. “Put it over your face and blow.”

He stared at me, for once speechless, took a deep breath and sputtered.

“Take the damn bag and blow. And go and sit down. I don’t want to have to deal with a cop passing out in a bedroom.”

A little colour hit his face for a second. He staggered over to the bed, plunked down on the edge, leaned over and blew. I moved towards the doorway, stopped and swung around.

“Look, Fielding, I’m sorry. Guess we’re all a little edgy.” I sat on the bed beside him and touched his forehead. He flinched and pulled away. “Sorry. Do you want a glass of water?”

“W … w … wait. It’s the kid. I m … m … mean your son. I have a daughter.”

“I know. You told me earlier.”

“Well, I want you to know, Ms. Bowman.”

“Dana.”

“D … Dana, that I’ll do my best to get your son back safe and sound.”

“I know that, Fielding.”

“Don.”

“What?”

“M … my name is Don.”

“Okay, Don. Anyway, you have two private detectives in the house to help you out.”

“Now, listen here, Ms. Bowman. You let the police handle this. Your job is to answer your cell phone if it rings, so we know what the kidnappers want. Nothing else.” He pointed his forefinger under my nose. (Copyright Sharon A. Crawford, From Beyond Blood, Blue Denim Press, 2014).

As you can see,  there is enough for the reader to visualize – especially a burly cop blowing into a brown bag.  hey are in close quarters and both characters are uncomfortable. But it is only a moment before the two characters return to “business”. But what else does the encounter tell you about the characters and the story?

In my short story collection Beyond the Tripping Point, some of my stories are noir and satire, one in particular – The Body in the Trunk, which has an unusual take on two friends trying to move a body to… well, that would be giving it away. You have to read it to get it.

And that’s my last suggestion. Read published novels  containing humour in the genre you are writing in. Three authors who do it so well are:

Melodie Campbell with her Goddaughter  series. The Toronto Sun calls her “Canada’s Queen of Comedy”.

Steve Shrott (who also teaches humour writing) with his stand-alone mysteries. One features a dentist who is a part-time PI and another features an actor whose main roles have been dead bodies.

Janet Evanovitch and her  mysteries. Her bail bonds character, Stephanie Plum, is forever getting into scrapes, especially with the two fellows who like her.

See how these authors work their humour to fit their characters and their plots.

Happy reading, especially over the Christmas season.

Have a good holiday.

Cheers.

Sharon A. Crawford

 

 

Advertisements
 

Tags: , , , , , , , , , ,

Can Point of View help Character Development?

No matter what genre of fiction your write – mystery, romance, science fiction or if you writer literary fiction – your characters are very important to your story and to your readers. Readers want to get to know your characters so they can connect to them – whether they like or dislike them. If you just skim the surface of your characters they become too superficial and your readers just won’t care about them. They may even stop reading your short story or novel before getting to the end. This does not bode well for the fiction writer.

How can you make your readers connect to and care about your characters?

One way is getting inside their head. The best way I know how to do this is by using another fiction-writing technique – Point of View.

Point of View is often misused, especially if you use more than one POV in your novel. And using more then one POV is not wrong. You just have to remember the cardinal rule. One character’s  POV per scene or per chapter. So stay only in that character’s head during that scene or chapter. Otherwise you are doing what we call in the business – “jumping heads”. Perhaps if you think of lice doing that it will give you some incentive not to jump heads.

How can POV help you see and develop your characters?

Basically,if you are inside that character’s head, you have to think like him or her – not like you would think for yourself. For example, how does he react when things go wrong ? What makes him scared and what does he do because of it? Is he shy? Is he a bully? Is he being bullied?  Reactions include actions, dialogue, inner thoughts and how others react to him? And these will depend on the character. For example if the character is a child, the reactions will be different than an adult. But adults also react differently to situations and that is based on their background, their characteristics – physical (are they short and fat and subject to a lot of derogatory comments about that? Do they cringe, hide inside themselves, stand up for themselves or bully the attacker – maybe punch him in the nose?)

All depends on your character and yes, doing a detailed character outline of your character helps. Just remember like real-life people, characters change and evolve – often because of what goes on in their life. So your character outline is fluid.

How do your characters react to being insulted? Frightened? To trauma?

Let’s look at one of my main characters in Beyond Faith – seven-year-old David Bowman. He was kidnapped in the previous book, Beyond Blood, and is suffering from Post traumatic stress disorder because of it. This affects how he speaks, what he does,what he thinks and what others, especially close family, think of him.

The best way is to use the writing axiom of “show not tell.” So here are a couple of short excerpts from Beyond Faith (published Blue Denim Press, fall 2017). Please note all copyright of all excerpts,  is with me, Sharon A. Crawford, the author.

First, his mother’s inner thoughts about him. The first chapter is from her – PI Dana Bowman’s POV. She is walking up Main Street dreading returning home. Two short excerpts here:

THE WIND WHIPPED my back and the cold rain pelted my face. Hunching further inside my jacket, I pulled the hood tighter. Despite chattering teeth and an oversized purse sliding down my sleeve, I continued plodding forward.

Late November in Thurston Ontario could weave a wicked wind, leaving you out of sorts and gasping for life, a feeling I had experienced a lot lately. Couldn’t seem to put my finger on it. Bast said it was because we would turn 40 the end of next month and to get over it. But that wasn’t it. Just when I seemed to find the proverbial hole, something always kept me from crawling in. But what was really stopping me?………

 

I should be happy. Not only did my son David survive his kidnapping last year, but this July he finally started talking again after months of silence. First he wouldn’t shut up, then he took to following Bast around again like he did when still mute. Since summer disappeared into autumn, when not at school, David was spending more time alone in his room—drawing. I didn’t like what erupted from his crayons—devils, fires with heads sticking out the top, hands wielding axes or guns. Where did he get all these ideas? Had he not healed from the kidnapping? Maybe the aftermath was like grief—going back and forth and all over the place in uneven stages……

What’s happening here? How does this clue the reader in on David’s character? And on his mother’s too? What do these short excerpts tell you about mother and son?

Let’s hear from David now in another scene. A little bit of info first. Partway through Beyond Faith, Dana is attacked from behind, falls to the cement and suffers a concussion. This is part of the scene a few hours later in the hospital from David’s POV.

“Uncle Bast, can we go see Mommy so the detective can find out who hurt her?”…..

Bast turned to the doctor. “Very well, if you don’t have any objection, Doctor? I would like to see my sister, too.”

Dr. Richards scratched his cheek. “She is sleeping now. She should get more rest, no excitement.”….The doctor shrugged his shoulders. “Fine. But just family. And just for a few minutes.”

He led them back to Mommy’s room. The cop sitting outside seemed to be asleep on the job. David went to him and shook him. “Wake up. You’re supposed to be watching Mommy’s room to keep the bad guys out.”

Constable Biggs looked up, but before he could say anything, Uncle Bast was leading David into the room, behind the doctor. The doctor said something to the nurse about giving them a few quiet minutes alone with the patient. The nurse stood up and she and the doctor left the room.

Bast sat down in the chair on one side of the bed. David moved his chair closer to Mommy on the other side. He sat down and took her hand. And started to talk about school, Ms. Dugan, and Buddy. He was there and he wasn’t going to leave her. If he did, he knew she would die……

What does this excerpt tell you about David? What techniques were used to show the reader David’s character? And as this is a child character, are his thoughts and language appropriate for a seven-year-old boy?

If you wish to find out more about the Beyond characters, Beyond Blood and Beyond Faith are available at amazon.com, amazon,ca, and other online places as well as some bricks and mortars stores.

But I am also suggesting you read a variety of novels (or short stories if that is your writing area) to see how a variety of other authors handle POV and character. Two caveats: unfortunately a small portion of published fiction messes up the POV – blame the editor here. And don’t copy what another author does – reading is for your learning and inspiration. In the end it’s your story and your characters.

Cheers.

Sharon A, Crawford

 

 

 

 

Tags: , , , , , , , , ,

Dark and stormy nights and other novel settings

It was a dark and stormy night. All right, cliche setting. But perhaps it’s overuse and familiarity has a reason. Settings are important when writing fiction. You don’t live in a vacuum, do you? Neither do your characters and their stories. Even if your character has disappeared to a remote island, there is still a setting. Think ocean, sand, trees, wild animals, an anonymous presence, etc. Even if your character is in prison, there is still a setting – albeit one limited in space.

Settings influence your plot and your characters’ behaviour. Don’t believe me. What about the late Rex Stout’s Nero Wolfe mysteries? Wolfe, a  middle-aged PI, lives in a brownstone apartment in New York City. He seldom leaves his apartment and prefers to spend his time alone in his big orchid room, commiserating with his large collections of orchids. Yes, the plants, in a room of their own.. Not your typical use for a spare apartment room. Wolfe is a loner and an eccentric. When he wants to see clients or suspects, he orders his employee, side-kick Archie to get them in. Any legwork outside the brownstone is Archie’s responsibility. And that is where the reader sees and experiences the setting – a New York City a few decades ago.

So you can see how setting is part of the characters and plot. Sometimes setting can even be a character. Think The Perfect Storm, although here I am treferring to the movie. In fact if you want to see setting, watch the movies and TV shows and see the variety of settings presented. There are hospital series such as The Good Doctor and Chicago Med. So you feel like you are there in the hospital. Or a fire with some of the firefighters stuck inside it in Chicago Fire. You can tell what I like to watch. Even the overdone car chase scene has setting. If you can get your eyes off the cars for a few minutes and just see their surroundings. A car chase on Hawaii Five-O is much different than one through the slushy, snow-covered streets in wintry Chicago PD. And the setting for the car chase influences just how the chase might go.

Back to books. In my mystery novel Beyond Faith, late the last night in November 1999, PI Dana Bowman is walking from a reception party to a midnight meeting with a blackmailer at St. John’s Church. Basically, she is walking from the industrial area of a mid-sized town to its downtown. On the way, I blend in the warm for  November night with a car that seems to be following Dana. I’m not going to tell you what happens with that; instead I’m going to quote some of what happens when Dana gets to the church.

No one else was about, which might make it easy to spot the blackmailer as he or she arrived—if he or she showed up. Even the area of St. John’s was barren of people, but about half a dozen cars were parked in the parking lot. Overflow from the Beaver and Cricket, no doubt. Not the church, which appeared dark, and after climbing the stairs, I found that the door was locked. Odd. But then the time was pushing closer to midnight and St. John’s probably was the church that had been robbed earlier this year.

I walked down to the cement seat surrounding the fountain, and began pacing to and from the seat. My digital showed as five minutes before midnight. More pacing and time checking did nothing except move time forward to 11.58. The blackmailer was pushing it close. A breeze brushed my face and I wished to be wearing the usual wardrobe of jeans, sweats and warm jacket. I also wished the blackmailer would hurry up and get here. Just as I started to put on my fake fur coat something snapped nearby. A tree branch? I jumped and dropped the coat on the ground. Get a grip, Dana. Clutching my bag, I moved away from the fountain seat and looked at the other side of the fountain. (from Beyond Faith, Copyright 2017, Sharon A. Crawford, published by Blue Denim Press, 2017)

And no, I’m not going to tell you what comes next. You have to get the book for that. (Hint. Click on the book at the top of this post.)

But from the Nero Wolfe scene descriptions and from the above from Beyond Faith, something else is going on. We don’t just get a bland description of the setting. The characters are actually doing something in it and the plot moves forward.

Plot, characters, setting – all part of a novel and they are intertwined, connected.

Cheers.

Sharon A. Crawford

 

Tags: , , , , , ,

Plotting Your Way Through Your Story

I wrote the original version of the below a few years back when I was Writer in Residence for the Toronto Branch of the Canadian Authors’ Association. With a few updates, which I have now made, it is still relevant for us authors. So here goes. 

 

Plotting Your Way Through Your Story

We have to continually be jumping off cliffs and developing our wings on the way down. — Kurt Vonnegut, science fiction writer

Vonnegut describes the fiction writer perched at the computer. The writer is ready to roll with the plot. Sometimes he soars, but sometimes his wings get clipped.

Let’s look at some baddies in fiction plotting.

A literary magazine editor once scrawled on one of my short stories, “This is not a short story. This is an incident.”

A novel that I evaluated contained quirky characters. However, they solved everything too easily and their relationships, including the love relationship, had no problems.

In another novel, the author tried to carry most of the plot with dialogue. Dialogue is good for showing the reader rather than overdoing the narration. But you can overkill with dialogue too.

In another novel, the author had created a certain atmosphere from the setting and characters. Unfortunately, the plot resembled those 500-piece jigsaw puzzles that you finally toss out in a garage sale.

Kurt Vonneget describes plot as

I don’t praise plots as accurate representations of life, but as ways to keep readers reading. When I used to teach creative writing, I would tell the students to make their characters want something right away — even if it’s only a glass of water. … When you exclude plot, when you exclude anyone’s wanting anything, you exclude the reader, which is a mean-spirited thing to do. You can also exclude the reader by not telling him immediately where the story is taking place, and who the people are. … And you can put him to sleep by never having characters confront each other.

The characteristics of a good plot are:

  1. A protagonist or main character with a conflict to resolve. The characters drive the plot. Let them struggle to get there. Life may be a bowl of cherries, but the characters need to experience the pits.

  2. The plot moves forward, usually chronologically, although some flashbacks can work. If you get lost, use Doug Lawson’s rule, i.e., figuring out where the characters would rather not go.

  3. Events must be connected, not random and they must link from one event to another with some purpose.

  4. The plot must be believable, whether commercial or literary fiction. Your story line may seem unbelievable, but you make it believable by suspending the reader’s disbelief. Think “X Files.”

  5. Their must be a climax, whether it’s a moral one in the protagonist’s mind or the opposite extreme, such as a sword fight. Think protagonist and antagonist together at the edge of a cliff – for an analogy.

  6. The plot must have some resolution in the end. With series mystery novels, something, perhaps in the main characters’ personal lives, is often left hanging for the next novel. But the main plot must be resolved or you cheat the reader.

 

And the usual, if you click on the Beyond Faith book cover at the beginning, you go to a link with more info including a bit about its twisted plot.

Cheers.

Sharon A. Crawford

 

 

 

 

 

Tags: , , , ,

Catching story ideas on the fly

 

I’m a writer as rarely as possible, when forced by an idea too lovely to let die unwritten.

– Richard Bach

Our story ideas may not be as esoteric as Richard Bach’s – he wrote Jonathan Livingston Seagull.  Where can we get story ideas and when we get them, what do we do with them?

Story ideas often pop into our heads when we are busy doing something else or more likely when our mind hits a lull. Or we are reading an article in the daily newspaper or the classifieds (online or in print) and our right brain, the creative side, suddenly wakes up. A conversation overheard on a bus, especially those cell-phone monologues, conversations overheard in restaurants can suggest several story ideas, often of the criminal intent. Brochures on community groups, art shows, and even the supermarket flyers can inspire. Take the old (former) Dominion supermarket slogan, “We’re fresh obsessed,” and try to look at a story angle that is fresh. Taking a shower or bath is also guaranteed to fill you with more than water. The Internet is full of potential story ideas. Don’t underestimate the power of dreams. Drugs and alcohol are not recommended as you will see from the following example.

Late one night a photographer friend once thought he had a brilliant idea. He scribbled it down on a piece of paper before he crashed for the night. When he woke the next morning, he looked at the paper. On it he had written, “I am very drunk.”

Another moral from this story is look at photographs. A picture is worth a thousand words, but before the words come the ideas.

What do you do when an idea hits? Grab it before it disappears into the nether area of your mind. Write it down. Keep a notebook (electronic or paper) handy. If you think faster than you type or scrawl, use a recorder for dictating your ideas. If the source is the Internet, bookmark it under the heading “Story ideas.”

Then let the idea rest for at least a few days. The idea will simmer in your subconscious and when you sit down at your computer, the act of starting to write will draw out these ideas. On rare occasions, a simmering story suddenly bubbles and you are compelled to write it right now. Do so – if you don’t you might not only lose the momentum, but the idea as well. Nothing, except maybe a blank screen, is worse than an idea gone stale because it was left in storage beyond its best date.

Follow the advice of Martin Woods, who said,

“Write great ideas down as soon…”

Cheers.

Sharon A. Crawford

Author of the Beyond mystery novels – whose ideas came from all of the above.

And if you click on the Beyond Faith cover icon at the top, it will take you to the one of the online places the novel is available – as well as more details about the novel itself.

 

 

 

 

Tags: , , , , ,

Plan some novel writing time during holidays

Sharon’s latest Beyond mystery.

When you are overstuffed with turkey and Christmas cake; when you have had it with family cheer; when you are…well…bored with all the Christmas songs, sales, and noises, just write.

Shut yourself in your room, the rec room, your office – somewhere away from everybody, and start writing that short story, that novella, that novel, that personal essay, that memoir, that poem, that play, that… Well, you get the idea.

And speaking of ideas, maybe you have a story idea – plot or characters or both running around in your head, but you just haven’t had the time to do anything with it because you have been buried in Christmas paraphernalia. Once the hoopla of Christmas is over with and before you get into New Year’s Eve and New Year’s Day, and all those new resolutions, get a head start.

That last paragraph describes me. Instead of visions of sugarplums dancing through my head, the next Beyond mystery novel is swirling around. I have an idea for a plot premise and new characters (and old ones, too  this is a series, after all). Each time I think of it, more ideas run through my mind. However, unlike my other Beyond books, I can’t seem to come up with a beginning – what to start with and where to start it. Considering the ending for Beyond Faith (and you’ll  have to read it to find out. No spoilers here), it is no wonder this is happening.

So, I’m going to get at it between Christmas and New Year’s. Not even going to wait for Boxing Day to pass. I hate crowds so don’t do Boxing Day (or week) Sales. And while I’ll get some things online, clothes aren’t part of that. I have to try things on first. So during that time I will  start by getting some of these ideas in a Word file and maybe even do a rough outline. Maybe even get at least an idea of the beginning. I know some of the remnants from Beyond Faith will require some research, so I might also do that.

Sounds ambitious? I’ll let you in on something.

Starting tomorrow, December 19, I’m taking two weeks holidays (staycation or is that stayvacation?) but the first few days will be spent finishing Christmas shopping, wrapping presents, and spending Christmas Day with my son and his girlfriend. I am also hoping to get together with a few friends outside of Christmas Day.

What I am not planning to do is working on client projects, volunteer work, and answering any related email. Strong emphasis on the latter. My days seem to include too much time replying to email that is not from friends and family. And one of my new year’s resolutions will be to have set times to do emails and if they don’t get done that day, they sit in the pending file. I mean, even my client work time was suffering because of dealing with emails.

Just as long as the email accounts are working – there has been a bit of some accounts not working in the past month.

I’ll let you know January 4, 2018 how it went, because this is my last author post here for 2017. I am still posting to my personal blog next week and the next – because that’s personal. In case you are interested in reading those posts, here is the link. Not too much about writing, except memoir writing, goes in there, but…. I will still post to Facebook (my main account) and my author Facebook page, and Goodreads. I better post to Goodreads. I am still updating the list of books I have read this year and doing book reviews for some of them. Finally got off to a good start a couple of weeks ago and then got side-lined by…you guessed it…email. Well, also shovelling snow.

Meantime, have a happy and health holiday. And write.

Oh, yes, if you click on the Beyond Faith book above, it will take you to one of the online places where it is available. There is a New Year’s Eve scene in it and PI Dana Bowman, the main character, isn’t spending that time making new year’s resolutions.

Cheers.

Sharon A. Crawford

 

 

Tags: , , , , , , , , ,

When in doubt kill the character off?

 

Dana Bowman from the Beyond mystery series. Still alive.

In last week’s fall finale of The Blacklist, Tom, one of the major characters was killed off in a very brutal way. Those following the British series Inspector Banks were jolted in one episode where a major character DI Annie Cabbot was killed. Blue Bloods killed (off screen/between seasons) a minor, but important to the series character, Linda, Detective Danny Reagan’s wife.

Near the end of last season, NCIS Los Angeles killed off Michelle, the wife of NCIS Agent Sam. Michelle’s roll wasn’t even as a regular, but as a recurring guest. But in a twist, the actor who played Grainger – Miguel Ferrier – a regular –  died in real life. Instead of following suit, the writers and producers had Grainger quit NCIS and go off to some faraway place.

 

 

Perhaps the weirdest one is the actor who played the original Morse on the old Inspector Morse series. Yes, the producers had Morse die of a heart attack when they were killing the series. But not long after the segment aired, John Thaw, the actor who played Morse died  also, but from throat cancer.

Lately, TV series seem to be in a killing mood. Want to delete a character from the series. Kill him. Actors playing the characters want more money than the new contract will offer. Kill off their characters.

So what does this have to do with fiction characters in novels? Maybe something as some of those series originated from books.

To me, killing off a character just to get them out of the TV series, out of the novel series, or even just out of a novel is a poor way to do it.  If you are going to kill a character there must be a reason within the story itself, something with the character and his other relationship with another character or characters.  Even in murder mysteries, characters are bumped off for some reason – maybe they were going to reveal something bad about the murderer, maybe they stood in the way for the murderer to inherit money, maybe revenge and yes even the so-called random killing spree where the killer kills for no apparent reason. there is always some reason even if just in the killer’s mind.

If a character in your novel dies from natural causes,  it has to be worked into the plot. Let’s look at a scenario from Beyond Faith, my latest Beyond mystery. There are two brothers – Gerrard Olsen and Larry Olsen. Near the beginning one of them gets killed. Without giving any spoilers, I had to think which brother and why and of course, who killed the brother and what led up to the killer doing so. That doesn’t come out right at the beginning, but PI Dana Bowman and her fraternal twin brother PI Bast Overture, and Det. Sgt. Fielding are trying to find out. Like most of my mystery novels and short stories, it is not straightforward. It all rises from the characters – who they are – what they have gone through and are going through in life and would they cross that line to kill? That latter is very important for an author to consider. Some characters are such bad assess in what they do that killing is believable. Other bad ass characters commit a lot of crime and/or are mean and ill-treat the people in their lives, but draw the line at killing them. Then there is the so-called good character who is pushed beyond his limits to the point where they kill.

Iit really all boils down to the character and the plot – and the two go hand in hand and drive each other. If you want one of your novel’s major characters to exit the novel, killing them may not be the only answer. That often comes across as lazy writing. Tthat can happen in mystery novels too, although when you get to the end and the good guy confronts the bad guy (or gal – guys don’t have the monopoly on being bad asses), the author has to “get rid” of the bad guy, but shooting her dead is not always the best way. The author has to consider who the good guy/gal is and how she would deal with it. Would she arrest the bad one? Or shoot him? Torture him? Push him into the lake and let him either swim or drown? Having said that, sometimes the good guy (or gal) isn’t the trigger-happy person, but is forced into a situation where it is ether the bad guy’s life or his. Then he might have to shoot – but not always to kill. Be creative. Many authors are. They have killers disappear during one novel only to return in a later novel. Chances are with this type of scenario, the novel’s protagonist probably has had some kind of a relationship with the baddie – so he will have to deal with the before and after. Unless you are a sociopath, you will be scarred  by the death of someone close to you. You will have to grieve.

Back to Inspector Banks and the killing of Annie. That does not happen in the books by Peter Robinson the British series is based on. And to me that is a disrespect for the original author. True, TV series don’t follow the novels they come from and often go off the novel’s track, often for a good reason. They can’t get all the novel contents in a movie or limited TV program. And series have to expand beyond the novel’s plot.

Killing a character on TV or in a novel shouldn’t be done just to eliminate him. There has to be a reason – beyond the character just being bad or leaving the TV series. Haven’t these producers heard of just getting another actor to play the part? It was done years ago with the comedy series Bewitched when the actor playing the husband died. And it was done recently with the British series Jack Taylor. A different actress now plays the part of Kate. Both work.

What are your thoughts and ideas on killing off characters in books and TV. Do you kill of any of your fiction characters? Why or why not?

Comments, please.

Cheers.

Sharon.

Sharon’s latest Beyond mystery links to Amazon

 

 

 

 

Tags: , , , , , , , , , ,

 
%d bloggers like this: