Writers in the Storm

by Sarah (Sally) Hamer

Yes, there are right ways and wrong ways to kill a character in a fiction story. And, even if we're working with non-fiction and telling a true story, we might still need to determine how to tell how a character will die.

We often have characters who, for one reason or another, need to be left behind. Maybe it's a mentor, like Obi-Wan Kenobi in Star Wars. We know from the beginning of Charlotte's Web (at least, some of us know!) that the spider, Charlotte, will die, because few small critters like her live very long. But there's a time and place to help make the story more real, to create the most impact.

3 Considerations for deciding to kill a character

1. Why do you think the character should die?

Part and parcel of that, why did you invent the character in the first place? What role does the character play? Characters aren't just there for the fun of it. They each play a very specific part in a story.

We can use the archetypes for examples:

• A Hero/ine is who the story is about. We rarely see them die because the story wraps around them. Maximus in Gladiator is one of the rare exceptions.
• A Mentor like Obi-Wan teaches the lesson, then goes away. Dying is common for this archetype. After all, would Luke have been able to grow into the man he becomes if he’d had Obi-Wan to tell him what to do all the time?
• Goose plays Maverick’s Best Friend archetype in Top Gun. He dies to propel Maverick into facing his past and the loss of his father.
• The Villain archetype dies all the time, since we have to slay the dragon. But once this archetype is dead, the story often is over. So, normally, the Villain dies near the end of the story.

2. When does a character need to die?

Every story is different. For instance, a mystery often needs to have a dead body early on and we only get to know that character through other peoples' eyes. There can be other bodies along the way, but each death needs to be carefully planned and HAS to make sense.

In a heart-rending true story about a loved one's death, the protagonist is usually someone who is deeply involved with the dying person, so the decision about when comes down to where it will impact the reader the most. In Ray, the story about Ray Charles, the death of his younger brother impacted his entire life. So, does it work best at the very beginning? Or in the middle? Or at the very end?

My personal preference is usually smack dab in the middle in a story like this, since I like to get to know my character before I find out what drives him or her. But you may like it somewhere else and, as long as it makes sense and impacts the reader, it will work.

3. Are you using it as a shortcut?

Carefully consider whether killing off a character is really a too-easy way out of a story conflict. Maybe that character can stir up extra trouble in the story, leading to a stronger plot, if he or she sticks around for a while.

I read a story several years ago where the fiancé of the heroine was the captain of an ocean-going ship and was gone when she really needed him. Another man came to her rescue and she fell in love with him instead. So, when the captain died at sea, the path to her new relationship was very simple.

Should it have been? Would it have been better for the fiancé to come home and for her to make a hard choice between the two men? (Of course, the romance writer in me would have liked to see that choice. But that's just me.)

Final Thoughts

So, kill any character you choose. It can be a very cathartic and enjoyable process, especially if you don't like a character. But do it for the right reasons.

Impacting the reader with a death, even of a villain, can make a book immensely better.

Do you have a favorite book or movie where a character is killed off ? Why is it your favorite? Please share with us down in the comments!

About Sally

Sarah (Sally) Hamer, B.S., MLA, is a lover of books, a teacher of writers, and a believer in a good story. Most of all, she is eternally fascinated by people and how they 'tick'. She’s passionate about helping people tell their own stories, whether through fiction or through memoir. Writing in many genres - mystery, science fiction, fantasy, romance, medieval history, non-fiction – she has won awards at both local and national levels, including two Golden Heart finals.

A teacher of memoir, beginning and advanced creative fiction writing, and screenwriting at Louisiana State University in Shreveport for over twenty years, she also teaches online for Margie Lawson at www.margielawson.com and hosts symposiums at www.mindpotential.org. Find her at info@mindpotential.org

Top photo from NewAfrica at Depositphotos.

Every so often, we open the doors of WITS to our readers. It's our version of Open Mic Night where you get to take the stage. We like hearing what you're up to in your writing and, since it was just World Creativity Day, it seems like a great time for this.

Today, we'd love to hear your first lines for a new manuscript or short story. If that sounds daunting, give us the first line of your new chapter, or the first line of one of your favorite books. We want to make it easy!

The Power of First Lines

Fabulous first lines tend to stick with all of us. We ponder them, agonize over them, rewrite them, and rewrite them again. And more than once, we've actually purchased a book based on a breathtaking first line or paragraph.

Our own Laura Drake has offered some great advice on writing a winning first line:

"A first line is a promise to the reader, telling them what kind of book this is. What your voice is. Maybe who the main character is. A good first line will pull a reader into a story. here.

Let's Hear Yours!

Today, it's your turn to entertain or wow us with your opening lines. If you can't think of anything, share a favorite from someone else. Give us the title and genre, then your opening line(s).

Feel free to comment on others' as well, and tag your writing friends on the post so they can share theirs!

We'll get you started.

Ellen

"A storm struck on the night that Laura Shane was born, and there was a strangeness about the weather that people would remember for years."

~ Dean R. Koontz, Lightning  Suspense thriller, Sci-Fi

"Once upon a time we had a love affair with fire, the president of the United States thought as the match that he'd just struck to light his pipe flared beneath his fingers."

~ Robert R, McCammon, Swan Song, Supernatural thriller, Horror, Sci-Fi

Kris

"I know of her. She stays to herself. Probably over a hundred years old, if she's still alive."

~ The Regeneration of Tomas Renell, a horror ghost story with a teen protagonist, by Krissy Knoxx (aka Me)

Jenny

Staring unnatural death in the face changes you. It just does.

~ Unnamed Cancer Memoir, Jenny Hansen

Lynette

The giant bronze angel of death loomed over Miranda Clarke's shoulder.

~ My Soul to Keep, the Fellowship Dystopia Book 1, Lynette Burrows

When the murderer, Gary Cobalt, trotted into the Bitter Blossom, he nearly gave himself away as a half-unicorn within thirty seconds.

~ Space Unicorn Blues, The Reason Book 1, TJ Berry (Bet you guess the genre just from this line!)

Now it's your turn. Share your opening lines (or a favorite from another author) below!

We hope this helps kick off a great month of writing!

Ellen, Jenny, Kris, Lisa & Lynette

Top Photo by israel palacio on Unsplash

By J. Alexander Greenwood

As both a professional public relations practitioner and a novelist, I can safely say I know the value of publicity. The partnership between an author and their publicist can be a pivotal element for success. However, hiring a publicist is a tactic to take only after serious consideration. Whether navigating the hidebound halls of traditional publishing or the wilds of self-publishing, understanding the ins and outs, dos, and don'ts of this relationship can significantly enhance an author's visibility and impact. 

Here are some top-level thoughts and strategies to foster a fruitful collaboration with your publicist. There is far more to delve into for each point I list here, but I hope it gets you thinking before you pull the trigger on working with a publicist. 

Building a Foundation

Define Your Goals and Expectations

Effective collaboration begins with clarity. Authors should communicate their vision, goals, and expectations from the outset. Are you aiming for a bestseller list, looking to build your brand, or hoping to secure speaking engagements? Clear goals allow your publicist to tailor their strategies and ensure that both parties are aligned in their efforts.

Be Open to Guidance

Publicists bring a wealth of experience and insights into the publishing industry, media relations, and audience engagement. They know what works and what doesn’t. Trust their guidance on everything from the timing of your book launch to the platforms where you should be present. Your willingness to listen and adapt can be the key to unlocking opportunities you hadn’t considered.

Provide Materials Promptly

Your publicist will need a suite of materials to effectively promote your book—high-resolution images, author bio, book synopsis, and perhaps even advance copies for reviewers. Timely provision of these essentials can significantly enhance the effectiveness of promotional efforts.

Embrace Media Training

If your publicist recommends media training, take it seriously. As a former journalist and longtime book podcast host, I can tell you unreservedly that being able to present your ideas clearly and engagingly in interviews makes a huge difference in how your work is received. A little preparation goes a long way in making the most of each publicity opportunity.

Costs 

The cost of hiring a publicist for authors can widely vary, influenced by factors such as the publicist's experience, the scope and duration of the publicity campaign, and the specific needs of the book and its target audience. Publicists may work on a monthly retainer basis, with fees ranging from $2,000 to over $10,000, depending on their expertise and the services provided.

Alternatively, project-based fees for targeted campaigns like book launches could start from a few thousand dollars for basic services to $20,000 or more for extensive media outreach, event planning, and social media management. Hourly rates for smaller tasks or consulting services are also an option, generally ranging from $50 to $300 based on the publicist's qualifications.

When considering hiring a publicist, you should carefully evaluate your budget and the potential return on investment. It’s important to ensure that the services offered are directly aligned with your goals and that the campaign is tailored to the book’s market potential. A detailed contract outlining the services, duration, expected outcomes, and costs can help set clear expectations. Since the aim is to maximize the book’s visibility and success without overspending, authors must weigh the cost against the value a publicist brings, ensuring it’s a financially sensible decision in the context of their overall career and publication strategy.

Warning Signs of A Bad Publicist

Recognizing a bad publicist is essential for authors to protect their interests and ensure their book's success. Warning signs include infrequent updates and unresponsiveness, indicating poor communication; a lack of tailored strategies and understanding of your book’s genre, hinting at a generic approach; lack of transparency in reporting and unexpected costs; unrealistic promises of guaranteed outcomes; a poor professional reputation without credible references or positive feedback; and unprofessional behavior or reluctance to collaborate with your team. These red flags suggest that the publicist may not effectively champion your book, and it could be wise to seek a partnership that aligns more closely with your needs, offering transparency, tailored strategies, and professional conduct.

Pro Tip: Ask around on writers group chat boards, check out writer protection sites, and other legit author organizations to vet a potential publicist. And remember, even a great PR pro may struggle if they do not understand book promotion and PR. Ask for references and case studies of book publicity before you hire.

Navigating the Journey: The Dos

So you’ve hired a great publicist—huzzah! Here are some dos and don’ts to ensure a smooth and effective partnership.

Do Communicate Regularly

Regular updates and check-ins with your publicist can keep both parties informed of developments, challenges, and opportunities. Open lines of communication ensure that strategies can be adjusted in real-time, based on what is working and what is not.

Do Leverage Your Networks

While your publicist can open doors to media and promotional opportunities, your personal and professional networks can also play a crucial role. Share contacts that might be interested in your book, and don’t hesitate to use your social media platforms to amplify your publicist’s efforts.

Do Be Patient and Realistic

The world of book publicity is fiercely competitive, and results may not (usually) come overnight. It’s important to have patience and set realistic expectations. Trust in the process and in your publicist’s ability to navigate this complex landscape.

Do Celebrate the Wins

When you achieve milestones, whether it's a feature in a major publication or a successful book signing event, celebrate these wins with your publicist. Acknowledging success not only bolsters morale but also strengthens your partnership.

Steering Clear: The Don'ts

Don’t Make Your Publicist Look Bad

Publicists live and die by their credibility. If your publicist books you for an interview, panel, signing, or other promotional event, you must show up on time, prepared and enthusiastic about the opportunity. I can tell you a story or two, seared into my brain about clients who blew off interviews at the last minute. One such incident cost me a valuable relationship with a prominent journalist. I fired that client soon afterward—she was just not worth the damage she did.

Don’t Micromanage

Trust is the cornerstone of any successful author-publicist relationship. While it’s important to stay engaged and informed, resist the urge to micromanage every detail of the publicity campaign. Your publicist is a professional—allow them the space to work their magic.

Don’t Ignore Feedback

Constructive criticism is part of the growth process. If your publicist offers feedback on anything from your book’s cover design to your social media posts, take it into consideration. This feedback is geared towards enhancing your book’s appeal and reach.

Don’t Underestimate the Power of Digital

In today’s digital age, having a strong online presence is non-negotiable. Whether it’s being active on social media, engaging with readers through a newsletter, or maintaining a dynamic author website, digital platforms are crucial. Don’t overlook these channels or leave them solely in the hands of your publicist.

Don’t Lose Sight of the Big Picture

Amidst the whirlwind of book launches and promotional activities, it’s easy to get caught up in the minutiae. Always keep the bigger picture in mind—your long-term brand, your relationship with your readers, and your overall writing career.

The relationship between an author and their publicist is a dynamic and collaborative journey, paved with mutual respect, clear communication, and a shared vision for success. By understanding and embracing these dos, and don'ts, authors can unlock the full potential of this partnership, propelling their stories into the limelight and forging deeper connections with their readers.

About J. Alexander

J. Alexander Greenwood is an award-winning writer, public relations consultant, podcaster, speaker, and former journalist and broadcasting executive. He is best known as the author of the John Pilate Mysteries and host/producer of the Mysterious Goings On podcast and the PR After Hours podcast. Alex is also the author of the Amazon Top-Selling eBook/audiobook, The Podcast Option. You can read his blog at JAlexanderGreenwood.com.

Image credit: © 2024 J. A. Greenwood. Image created by AI technology. All rights reserved. This image is proprietary and may not be reproduced, distributed, transmitted, displayed, published, or broadcast without the prior written permission of the creator.