“Readers may assume that killing-off a character, and a major one at that, is usually the moment of careful, systematic and exciting plotting for every fiction writer. Or that, it may be nothing further away than ‘a treat’ for the narrator who manoeuvres and ruthlessly employs every brilliant gimmick possible, bring down a character that has succeeded in either winning the hearts of readers or breeding loathing only letters can illustrate. Thus, the writers’ genius creates the monster or angel that must surely be killed. How can this be made tangible? Writers will agree that killing-off a major character in a story takes great writing skill, precision, suspense, style and timing and perhaps a lot more. Without some of these ingredients, a story where a major character (or even a minor one) is killed-off may appear vague, unjustified, irrational and unreal to readers who hold unto every word that leaps out of the paper with an almost total innocence. However, it will not be irrational to conclude that almost every committed fiction reader is far from naivety and digs into the story the writer brings alive, with a fierce critical mind that always produces a quiet plea that seems to say: “convince me that I am not reading fiction but reality reincarnated.”
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Author, novelist, writing tales of conspiracy, intrigue and espionage