: Re: How to detach yourself from a character you're going to kill? So, in a WW2-ish story featuring a co-ed military, I have a female soldier who is very kind and caring. I'm setting her up to

How to kill a character you are attached to?

ANSWER: Write a few alternate versions of the scene--in one the character dies, in others the character does not die (coma, loss of limbs, etc). Then get on with the story. After you've written more story, with the anaesthetic of knowing you have versions of "that scene" in which the character does not die, you'll reach a point where it becomes easier to pop in the version of the scene in which they do die.

That's how I detach from the characters I must kill. I give myself the stage of grief of denial and numbness, and eventually reach acceptance of the death.

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: Use for writing or research questions involving existing myths or ones you create for your world.

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: Is my book too weird to be published? This question may have already been answered, but I'm just making sure. So, I'm just making a silly book for fun. It's short (compared to other books)

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: Should I "tell" my exposition or give it through dialogue? When my work was being critiqued, one of the critics said that the exposition given away in my dialogue was forced and unnatural.

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: ...and then she held the gun In the short passage I am writing, the starting point is that one character is being held at gunpoint, and the end point is that she now holds the gun, having

: Re: How to detach yourself from a character you're going to kill? So, in a WW2-ish story featuring a co-ed military, I have a female soldier who is very kind and caring. I'm setting her up to

More posts by @Sent2472441

: Use for writing or research questions involving existing myths or ones you create for your world.

: Is my book too weird to be published? This question may have already been answered, but I'm just making sure. So, I'm just making a silly book for fun. It's short (compared to other books)

: Should I "tell" my exposition or give it through dialogue? When my work was being critiqued, one of the critics said that the exposition given away in my dialogue was forced and unnatural.

: ...and then she held the gun In the short passage I am writing, the starting point is that one character is being held at gunpoint, and the end point is that she now holds the gun, having

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