A dilemma of epic proportions!

[JBryden88]

Alright, I have a huge dilemma on my shoulders that is presently preventing me from writing anymore. It's killing me lol.

The novel centers around three characters. Cathal, Aislin, and Hengist. As with anyone in my world, they are human, but part of a barbarian/feudal hybrid culture, the Meavinar (which in the language of an ancient culture in the prehistory of this world, means "unconquerable people.") Because of this culture, all three of them are soldiers/warriors.

Cathal is a hardened fighter, his father was the Thronewarden to the High King, and his father/mother/village got destroyed by a religious faction when he was only 10 years old. Then on, he became a soldier, and one who has something of a self worth issue. (He does his duty, tries to keep his friends at arms length, and feels he's not worthy to have a happy life because of the death he's caused as a warrior)



Hengist is a good natured "giant" (he's tall, he's round... not necessarily fat, but round) who is best described as a jolly man, with a flaming red beard, and in battle he's also a tough fighter. He's raised his sister Aislin ever since they were both little - their mother died giving birth to Aislin, their father died in a battle. He's in love with a woman named Cadhla, who happens to be a barwench and a whore.



Aislin is the sister of Hengist, she's a warrior woman, at the start of the story the best way to describe her is that she's got some of her brother's demeanor in that she's a very happy person. She carries a torch for Cathal so to speak, and while many pass it off as a girlish crush, it may be more then that.



Anyway, here's the dilemma. Hengist should die. Well, he's slated to die at some point, which causes a turning point for Aislin and Cathal: Aislin would be far less of a "happy" woman, and a bit more serious, and Cathal may see cracks in his "even moral dirtbags deserve mourning" mentality - which would then lead to Cathal all together getting over his personal tragedy and accepting that he can be happy.



My dilemma is, Hengist is suddenly an interesting character. I had no planning for his chapter, and improvised it, and now I've created a character I want to keep. Do I keep him alive? Does he instead become the main character, and maybe Cathal dies? Or do I find a way to spare him while still having something tragic happen to him?



That question is what gets me. I can think of the scenarios for what happens if something else happened, and all of them are potentially fun things to write!

 

[Kakarifer]

In a personal opinion I would have him killed in a meaningful way, perhhaps saving his sister. I suggest this because if you have something happen to him he is no longer the same character you wanted to keep.

On the other hand you could do as you said and change the plot to make him the main character. Problems there is that you have to change the entire book from what you had originally planned. Doing this may cause problems with flow to the story.

Persoanlly I hate changing plot while writing, so I would suggest writing one version where is he killed, and then another where he becomes the main focus. If you're pressed for time then it's really up to you. It all depends on where you want the story to go.

 

[JBryden88]

Well, the nice thing is if he becomes the main character, much of the plot somehow stays the same. There's a few "world" events ... well... "regional" events that take place that would bring everything into place. Considering the only stuff I've planned are those regional events:
- A bandit king's schemes in part 1 (which is where the death would happen)
- A mysterious desertion of an entire town in part 2
- And a religious faction's crusade in part 3 which are all linked together are the only main plot points I have down.

So, actually changing it wouldn't be hard since I'm only on Chapter 3.

 

[Donny Bruso]

Personally, I suggest you kill him, just because I'm perverse like that.

As I've said before the entire world cannot fit into one binding, and clearly life existed before this story. If he's an interesting character, you could always whip up some short stories with him set before the piece you're working on now. I'm a firm believer that just because a character is important/likeable/interesting, they don't get a free pass. Our worlds are full of danger, and someone has to die, if only to prove that the danger is real.

 

[JBryden88]

The other option of course is to kill the one everyone thinks is the hero >.>
That is one of the options on the table heh.

 

[JBryden88]

For a more serious response...

It really does become a matter of what's a better story. But, I don't necessarily trust my own opinions on the matter: I have this habit of liking things alot of folks don't like in some cases- I'm easily pleased.

Which is why I ask for opinions... so, here's three scenarios. One where Hengist dies, one where Hengist and Cathal live on, and one where Hengist lives and Cathal dies. I'd love to know which sounds like the better story to those who might read. Note: The summaries would deal with the plot after the said tragic moment.

Scenario 1:

The bandit king Oswald slays Hengist in a last ditch effort to escape the clutches of the Meavinar warriors. A wounded Cathal lays in his own blood, struggling to survive, and Oswald meets his end at the hands of his former partner, a mercenary known as Molan. As Cathal recovers, he confronts Aislin, admitting his feelings for her, but the woman wants nothing of it: she would rather have Cathal because of genuine feelings, and not out of guilt from rejecting her, and having a falling out with her brother just a day before. As time begins to pass, Aislin finds herself into rouble, lured into an abandoned town populated by a single mad man. When Cathal learns of Aislins' indiscretion he arrives to find that she has slain the mad man, and both reconcile their feelings with one another. After a night of passion, both Cathal and Aislin are sent to board the Athelan, a Meavinar warship, to deal with the invading Broan Empire. When a holy man is slain aboard the enemy ship, a crusader comes to deal with the Red Axe, leading an army straight to the capitol city, where Cathal and Aislin must rally a defense in the name of the high king. Little does Cathal know, the man in charge of the crusade is the very man that slew his father.

Scenario 2:

Hengist is brutally wounded by Oswald the bandit king. His leg, while not removed, is badly wounded, and his left eye is gouged out. Now a cripple, Hengist can no longer do battle, and can't even ply a trade without good eyesight. Cathal, feeling guilt over the injuries and his falling out with Hengist, confides in Aislin, who rebuffs him, angry at him for Hengist's wounds, and inability to take care of himself. Cathal finds himself plying his blacksmith trade again in his off hours, as Aislin stalks off to deal with a mad man in an abandoned village. When Cathal learns of Aislin's rash move, he goes to help her, only to find she narrowly escaped her death, and slew the mad man herself. They reconcile their feelings for each other. After a night of passion, both Cathal and Aislin are sent to board the Athelan, a Meavinar warship, to deal with the invading Broan Empire. When a holy man is slain aboard the enemy ship, a crusader comes to deal with the Red Axe, leading an army straight to the capitol city, where Cathal and Aislin must rally a defense in the name of the high king. Little does Cathal know, the man in charge of the crusade is the very man that slew his father.

Scenario 3:

When Cathal and Oswald do battle, Oswald fatally wounds the proud warrior, only to be slain by an enraged Hengist. Grief-stricken by the loss of his friend, Hengist brings Cathal's body out of the cavern, and in the Meavinar city of Ardbaile, the king holds a funeral and vigil for the fallen Thronewarden. Distraught over her first love's demise, Aislin swears fealty to the Shield-Maidens of Ardbaile, removing all intent to ever be with another, and to focus on her soldiery. Though grief-stricken, Hengist finds solace in Cadhla, the woman he loves. After pouring his heart out to her, the woman agrees to end her days as a whore, and as a barwench, and takes up lessons in swordplay. When word reaches the Red Axe of a madman who may be responsible for an entire town vanishing, Aislin, the Shield-Maidens, Hengist, and several other soldiers make their way to investigate. After a game of cat and mouse, the mad man is dealt with, but not before Aislin discovers her own self worth. The high king Jarlath falls ill, but commissions the Athelan, a warship, to deal with Broan invaders. Word reaches fast that the Athelan has sunk, but not before several Broan ships were brought down: along with several holy men. Soon, a crusade makes its way to Ardbaile to avenge its fallen comrades. In a last ditch attempt to save the city, Hengist rallies his men, and turns back the crusaders. As reward for his heroics, and in honor of his fallen comrade, the high king Jarlath names Hengist as the new Thronewarden.

 

[Vita Numinous]

This is rough, but I'm glad you love him. That means that this char, when he does die, is going to be impacting. You want this. Your readers won't be shrugging and wondering why this vague person's death is making such big changes in the other characters. Instead, they'll be right there along with them. This validates and strengthens the character you are killing off, and also gives the reader very deep reasons to have a tighter bond with the other characters, the opportunity to really connect with them and feel like one of them. All of this is good. Love him and be cruel and honest to the end. Don't turn our eyes away from the pain of it, give us catharsis. The rollercoaster draws your readers along. If you aren't a little mean to us (the readers) we have less emotional connection to a piece. Entire books can be written this way, and still be well done and engaging, but if you want readers to feel like they have personally lived through this death and your story in a rich way, be brave. Done well, this is the kind of thing that moves a book from a fun read into something that really makes your reader have that "living in other worlds" experience.

This is not to say that a very good character can't develop beyond what you had in mind, and change the path of your story. That can happen. But if it does, you need someone else to take that role and take the fall, so to speak, to keep up with your plotline. If it is completely stalling your writing (yegads!) open a new file and play with the idea. Write little snippets of what the death scene, write up another character to die in that place if a death is necessary to the plot or other characters, or write snippets about what that character would do if still alive. Then you have the flavor of both and might have more material to look at to help you make your decision (and gives you exercises to keep writing).

 

[JBryden88]

Mmk I'll go with Hengist dying. I did some evaluation, and what it came down to was:
- Which character has the potential to carry several stories?

With Hengist, while as a character he's great, his personality would be so reckless, he'd screw things up in such a way I don't want to see happen in the story

 

[balthore]

It can be hard to kill of a char you have become attached to.

In one of my fanfics I had a custom char that I kept bringing back from the dead (4 times) just because I could. However in my original work I had to kill off one of my favorite main chars in order for the plot line to progress. It isn't easy to do, but I would stick with the death of Hengist in order to progress the plot line you have formulated.

 

[James Chandler]

With Hengist, while as a character he's great, his personality would be so reckless, he'd screw things up in such a way I don't want to see happen in the story

This makes me think you should keep him alive. Maybe put him on his death bed and Cathal and Aislin have to save him. First, it adds the potential for unpredictability - it can throw a wrench in the tendency to have the hero always do exactly the right thing. Second, a strong secondary character who is not a love interest adds a great dynamic to the team. Third, a three person dynamic will have much longer legs, i.e. multiple stories, than the two person romance. For an example of a series of books based on a single strong character, check out David Weber's Honor Harrington series. Even though she is the primary focus, the secondary characters are critical.

 

[Donny Bruso]

For an example of a series of books based on a single strong character, check out David Weber's Honor Harrington series. Even though she is the primary focus, the secondary characters are critical.

I've got a serious beef with Weber and his characterization, but that's not the point here and I won't hijack the thread to go into it, lol.
James makes a good point, however. Despite my perversity in killing characters, removing Hengist from the primary story doesn't necessarily require his death, as you outlined in one of your options. Depending on how the character is maimed, the guilt could be even worse than his death. Death at least is clean, somewhat dignified, compared to living as a crippled parody of yourself that everyone pities.

And of course while that person is still alive, you have all sorts of options with character dynamics that are removed if they are dead. As a wise man once said 'Death is so terribly final, but life is full of possibilities.'

 

[JBryden88]

Tyrion Lannister rules.