Killing Characters

This seems to always be a divisive subject amongst writers. Some writers wouldn’t dream of killing off one of their characters, while other writers are more than happy to recreate their own versions of the infamous Red Wedding from Game of Thrones within their own works. Within the realm of fiction, character deaths can extend beyond just those of the villains. Side characters and even some main characters can be subject to meeting an untimely death. These are the characters that readers will mourn, especially if they happen to be a fan favorite. As writers, we know that not every character’s story can end in happily ever after. But killing characters can be a delicate art. You don’t want the death to be pointless, you want it to mean something. Below are somethings to keep in mind when you’re contemplating a potential character death. 

Positive Reasons to Kill a Character:

1) Kick off the inciting action or to reveal a hidden secret. Sometimes our main character needs to experience the death of another character in order to get them to begin the proverbial hero’s quest. But at the same time, you don’t want the death to come across as cheap writing or cliched. You want this to be meaningful to the plot. In order for the death to be meaningful to the story’s plot, ask yourself if this inciting action can be kicked off any other way? Or can this hidden secret that is integral to the plot, can that be discovered any other way? If not, then you can proceed with the character’s death.

2) To motivate other characters. Again, death can be a great motivator to both heroes and villains. But you don’t want it to be the sole purpose of their motivation, meaning don’t kill a character just to get your hero or villain started on the path of their character arc and development.

3) To highlight a universal truth within your story’s universe. Sometimes some character deaths have to be sacrificial for the greater good of the story. If death is the only way to highlight a universal truth in your story, then do it. Or if you’re writing a series and you get to a point where there is no other way to illustrate a continuing theme then use a character death. 

4) It’s the only logical way of ending a character arc. There are plenty of ways for your character to come full circle and grow. Death doesn’t always have to be the answer. However, there are times when it is the only answer. As the writer of the story, you will know if this is the only way of wrapping up a character’s arc. 

Negative Reasons to Kill a Character:

1) Solely for the purpose of shocking your audience. No, no, no. You will only make your fan base angry. Don’t alienate your fan base.

2) To start some drama. If you’re killing a character just to spice things up within your story, then you really need to re-evaluate your plot. There are definitely tons of other ways to shake things up without having to kill a character. My personal rule is if you feel your story needs something shocking like a death to save it, then you really need to start from scratch again. 

3) Just for the character development of someone else.Yes, sometimes either a hero’s backstory or even a villain’s backstory will include the death of someone close to them in order to get them started on their respective paths. However, killing a character just for the purpose of further developing another character is not necessary. You can achieve the same effect with a less tragic accident. For example, if your story is about two brothers who haven’t spoken in 10 years, you don’t need to reconcile them by having them lose their mom in a firey car crash. Simply having her hospitalized with a broken leg would be enough to get them back in town and have to face one another and eventually reconcile. You still achieve the character development but without the character death. 

4) You’re unsure how to further the character’s storyline. This more applies to minor characters who sometimes serve their purpose in a story, but then we, as writers, don’t know what to do with them. While the topic of what to do with minor characters after they’ve served their purpose is always up for debate, killing them off isn’t advised. It serves no purpose and if they happen to be a well-received minor character, this can end up angering the fandom. 

5) You don’t like them. We’ve all had characters that we don’t like in our stories. And I’m not necessarily talking about villains. Sometimes as writers we create minor characters or even major characters that, as we get into the writing process, come to find we don’t actually like writing them. Either they’re too boring, we’ve gotten sick of writing them, or we simply can’t connect with them. The easiest solution to this is to remove them all together from the story. Make it such that they’ve never existed within our story’s universe. Sometimes I have found that these characters I don’t like are simply in the wrong story and once I find where they fit, they work much better. I’ve also found that if a character is easily removable from the story, then they were irrelevant to it anyways. Of course, problematic characters aren’t always easily removable like this. Sometimes a character needs to be in a story but we, the writers, just can’t stand their story anymore. Don’t kill them off, find another less dramatic way of writing them out.

Author Interview with Ashley L. Hunt

Dragon Soul Press sat down to interview Fairytale Dragons Author Ashley L. Hunt.


  1. Where do you get your inspiration?

My inspiration comes from a lot of places. Sometimes it’s a way I had wished another story ended. Some of it is adventures I would have loved going on, if they were possible. (Anyone know where I can team up with a dragon?) Sometimes characters just form and they need places to go.

  1. When did you start writing?

I was very young, I remember that. When I was 3 or 4, my brother and I would get all our toys and we would send them on these long epic odyssey to reach a goal. I didn’t think to set my stories to paper until I was 9 or so.

  1. What does success mean to you? What is the definition of success?

Success to me is completing a task and getting some acknowledgement for it. It’s probably on the smaller scale of what success means to others, but it’s good for me.

  1. How much ‘world building’ takes place before you start writing?

It’s a little bit before and some after. I leave space to build as I go, but I have enough foundation for a solid world.

  1. Describe your perfect book hero or heroine.

A perfect book hero is someone who is flawed, someone who gets scared or isn’t always sure, but does their best anyway. For me, they need to do what they can to make the world better, and they learn a lesson on the way.

  1. What was the inspiration for the Fairytale Dragons story?

I’ve been studying fairy tales since I was a child and I absolutely love dragons. Cinderella is easy to mock because in today’s day and age she looks weak. It’s not fair because she was a brave and courageous young woman who stands up and she bears her part well. She deserves better and I hope I gave her that.

  1. What were the key challenges you faced when writing this story?

In the original, Cinderella is passive and docile. She reacts to the plot rather than inspiring it. The plot happens around her. So I had to give her an active role in the story. Her godmother is also this strange shadow in the background who shows up randomly then vanishes from the story again. (According to the French telling, she’s absent in the German and Italian) so an added challenge was to show a relationship with Cinderella and her godmother while giving her a reason to not help Cinderella.

  1. Who is your favorite author and why?

Favorite author is harder to pin because there are so many for a million different reasons. Madame Du’alnoy stands out among fairytale writers because she has a particular style to her writing that is rich but doesn’t bog down the story. My favorite book is the Wizard of Oz, by Lymen Frank Baum so of course he has a special place on.

  1. What was your dream job when you were younger?

I wanted to be a singer, but I can’t hold a note. My dog runs up to check if I’m dying.

  1. Where can readers learn more about you?

You can find me on Facebook.

View at Medium.com

How to Write Side Characters

When written correctly, side characters can actually be some pretty interesting people. Plus, they add a lot to the story. Yes, we all have to put effort into making our protagonists and antagonists multi-dimensional characters, but that doesn’t mean we’re allowed to forget about our side characters. While they might be minor characters in the grand scheme of things, they’re still vital to the telling of the story as they serve many functions such as revealing key details, motivating the protagonist or foiling the protagonist, and sometimes helping to outline certain plots in the story. These secondary characters can either interact with the protagonist through dialogue or through a memory that the main character has of them. 

Whichever way you choose to have your main character interact with your side character(s), it’s important to remember the main function of the side character: to help progress the story forward somehow. 

With that in mind, here are some tips to making sure your side characters are not one-sided.

Don’t get stuck on the little details:

Yes, writing a rich backstory is important to understanding your side character. But not everything has to be in your story. Just include the parts of the character’s backstory that are relevant to the plot and that move it forward. Don’t get stuck on the little details that don’t matter. It’ll only end up confusing your reader. A good tip to bear in mind is to ask yourself “does this add to the main story or distract from it?”

Don’t make them solely good or solely bad:

The best way to add dimension to your characters is to avoid making them one-sided. If they’re completely good or evil they’ll read completely flat. What I like to do for all my characters, including the side characters, is to give them three good virtues and three negative ones and work from there. The way I see it, if you mix black and white you get grey – and grey is where things get interesting. 

Don’t create too many characters:

Creating characters is fun. That is why it’s so easy to get swept up in the desire to write more and more characters, leading to your story to become very convoluted. If you ever read War and Peace, you know just how long that list of characters is. And if you read Tolstoy’s masterpiece, you probably had to refresh your memory a couple times while reading as you tried to keep up with all the characters. While Tolstoy somehow made it work in 587,287 words, most of us are probably working with a much smaller word count goal. Therefore we shouldn’t make it too confusing for our readers to keep up with our cast of characters. 

The side characters are there to develop the main character(s):

No matter if you have one side character or five, they all share the same exact purpose: to develop the main character. Side characters can be used to expose key plot points without you necessarily going into exposition mode and “telling” what is happening, but rather “showing” it through the characters. A side character should never be just background noise, each side character should be an active participant in the story and either support your main character or provide an obstacle for them (without necessarily being the antagonist). 

Use them to help bring the world to life:

This is particularly helpful if you’re writing fantasy or sci-fi. Secondary characters can be tools used to help bring the world you built to life. Physical descriptions, personal experiences, these are all ways that the side characters can help to better illustrate the world you’ve created. 

Try to keep them in one space:

In order to make it easier for your readers to keep up with your secondary characters, it’s a good idea to tie them to one location whenever possible. That means that your side character exists in one spot, like the bar, school, the library, etc. and they never venture beyond this point. But remember, even if they only exist as the woman in the coffee shop, they still need to serve a purpose to moving the story forward. It’s easier for your reader to learn character names etc. when they are in one location. But if you do move a secondary character around, do it with purpose. 

Give them a reason for being in a scene:

Speaking of purpose, you should make sure that your secondary character has a purpose for being in a scene. Like I said in the previous point, your side characters should really be kept to one location if it can be helped. But if you do end up moving them around, make sure that there is a reason for them to be in a different scene with your main character. If there is no good reason for your side character to be in the scene then it’ll just read as awkward and confusing. 

Villains: A Twisted Love Story

Villains. Most stories don’t make sense without them. They are needed to propel a story forward, by giving our hero someone to confront. Nothing will make your hero look even more heroic than a worthy opponent. Therefore, villains are quite important. And they need to be written well in order to give your story the grit that it deserves.

That is why motivation is a very key ingredient when creating a villain. Many times, writers will put in a lot of effort into creating their main characters or even their side characters, but they’ll come up short on the villain. Villains, while they are the bad guys, they still need to be more than just being bad – they need a motivation for being bad. 

So, what makes a good villain? Well, the easiest way to begin building your villain is to understand that villains are ordinary people who have experienced complicated pasts. And personally, what better motivation than love? Think about it – the stories that we enjoy most, the ones that resonate with us most, are the ones rooted in love. Love can be a very powerful motivator, not just for your hero, but also for your villain. While a hero’s motivation of love for a family member, a significant other, or a civilization usually yields good results, a villain’s has the opposite effects. But if you think about it, the best villains are the ones with relatable backstories that serve as motivation for their evil-doing. And who is more relatable than someone who is laying everything out on the line for someone or something that they deeply care about?

While you’re writing your story, be sure to pay special attention to your villain and give them a backstory that is relatable. Perhaps something along the lines of a twisted love. 

Writing a Fight Scene

Let’s face it. Writing can sometimes be a struggle for us all. But the one thing that is perhaps the most difficult to write are fight scenes. They’re high-stakes, and very intense confrontations between characters, so if done wrong, they will end up reading very, very badly.

When we think of fight scenes, we probably envision them similarly to how they are in movies – fast-paced and engaging moments that leave the audience thinking “wow.” Of course, watching a fight scene in a movie is so much more different to writing one, as a film allows the audience to take on a passive role as everything they need to know is visually being handed to them. As a writer, your job is to help the reader take on an active role in reading, by giving them written cues to help them visualize it in their minds’ eye. Obviously, this is much harder to do than visually feeding it to your audience.

If you’ve been writing a story that includes a fight scene, or scenes, and you’re finding yourself struggling, then here are a couple tips that I’ve discovered about writing fight scenes through trial and error:

Tip #1: The fight scene(s) should always move the story forward

In general, writing any scene should be as a means of moving the story forward. However, this is particularly true for a fight scene. Don’t include a fight scene into your story – even if it’s really well-written – just to put it in there. The easiest way to tell if your story is propelled by your fight scene? Delete the fight. If your story reads fine without the fight and it still makes sense, then your fight scene doesn’t move the story forward and you did well to delete it. Now if the fight was some kind of transition or if the story feels like its missing a key element, then your fight is integral to moving your story forward and you can paste it back in. 

Tip #2: Fights are meant to improve or add to characterization

If fight scenes are only focused on the brute force and physicality of the action, then they can become a bit boring to read. What a fight scene needs to do is also provide a portal through which to explore your characters and gain more insight into them. Some of the things to think about when writing your characters’ fight is:

Why does the character choose to fight?

How does this choice reinforce who they are as a character?

How does this fight affect both their drive towards accomplishing their internal/external goals as a character?

Is this fight getting them closer to accomplishing their task or further away from accomplishing their task?

What are the stakes for the characters who are fighting? In other words, what do they each stand to gain or lose depending on the fight’s outcome?

What kind of a fighter is your character? Not all characters can or will have the highly trained hand-to-hand combat skills of a Navy SEAL in a fight, so what physical or mental abilities do they possess in a fight? What mistakes are they prone to making in a fight? Are they a hot-head or a master strategist? Basically, their fighting skills, or lack there of, can give your reader a glimpse into their characterization. 

Tip #3: Fight scenes shouldn’t be slowing down the overall pacing of your story

In movies and other visual media, fight scenes happen rather quickly. However, in literature, they can drag on – especially if they’re not written well. And that can interrupt the flow of your story.  The reason why fight scenes can often make the flow of your story seem slow and heavy, is because the writer has to write out all the details that the reader needs to be able to visualize the scene in their head. Therefore, you can keep the following in mind in order to create as tight of a fight scene as possible, so as not to bore your readers:

Use shorter sentences since they are easiest to read and help to keep up the speed of your story.

Mix in dialogue with the action. You don’t want to have just a huge block of text detailing out what is happening. By breaking it up with dialogue you not only are cutting down the long descriptions of what is happening, but you’re also adding to the action through verbal exchanges. Don’t underestimate the power of dialogue when building a scene.

Don’t focus too much on introspection. While the inner workings of a character’s mind often helps to flesh out your character within the realm of the story, a fight scene isn’t necessarily the time or place to focus on what they’re thinking. A character’s introspection will happen before the fight and after – not during.

Keep it short. Unless you’re discussing an epic battle of Tolkien proportions, then a fight shouldn’t go on for pages. If it’s a fight between individuals, keep it short.

Tip #4: Don’t forget about the four other senses

When writing a fight scene, don’t just focus on the sight portion of what your character is seeing. One of the best ways to engage your readers while describing a fight scene is to hit them with all the other senses like hearing, touch, taste, and smell. Using all five senses together can really elevate your writing. It’s a good rule of thumb to keep in mind for writing in general. While sight might be the easiest and most obvious way of describing things, don’t discount the power of the other senses.

Tip #5: Edit

Perhaps the best fight scene you could have written is the one that was thoroughly edited. Again, another tip for writing in general, but it really does help when it comes to writing a fight scene. You won’t get the fight scene right the first time, so you just need to keep editing it until it gets there. Some things to keep in mind when editing a fight scene are:

Don’t give your reader a blow-by-blow description. Once you have your initial draft, when you’re going through editing be sure you delete all the non-essential details that will only weigh it down.

Forget the flowery language. Keep it short and neat and delete the extra words you don’t need. They will only drag the pacing down.

Consolidation is key. Besides the language, make sure that your characters are consolidated as well. Too many characters in one fight scene can just get confusing for the reader. And confusion leads to frustration which leads to the story being put down. Don’t let that happen to you.

Happy writing everyone!