"As more than one writer has said to me, "How many times can I put my guy through the ringer?"
During a story conference an author confided in me that she didn't know what more she could do with a character. "Has he ever killed someone?" I asked. He hadn't. I then posed the question. "What else has he never had to do, and how could it be what he fears most?"
Her answer was to promote the character from inspector in Special branch, the police departement assigned to cases of high political sensitivity, to commander. No longer responsible for just following orders, Pitt now has to decide in the first place which cases are to become active, knowing that the mere fact of openig an investigation itself ruins lives and reputations. In the twenty sixth book of the series Pitt not only faces this burden, but at the end, with knowledge of guit but in-sufficient evidence to prove it, faces a ruthless traitor alone with gun in hand. He must decide whether to shoot the man dead."
(21 C Fiction, Donald Maas).
Or, how about Butcher's great wizard Dresden:
Everything in me screamed no. That this was not fair. That I should not have to do this. That no one should ever have to do this.
But.... I had no choice.
I found myself picking Susan up with one hand. The little girl was curled into a ball with her eyes closed, and there was not time. I pushed he from the alter as gently as I could and let her fall to the floor, where she might be a little safer from the wild energies surging through the temple.
I put Susan down on the alter and said, "She'll be safe. I Promise."
She nodded at me, her body jerking and twisting in convulsions, forcing moans of pain from her lips. She looked terrified, but then she nodded.
I put my hand over her eyes.
I pressed my mouth to hers, swiftly, gently, tasting the blood, and her tears and mine.
I saw her lips form the word, "Maggie...."
And I....
I used the knife.
I saved a child.
I won a war.
God forgave me.
Make it worse means pushing our characters to the ultimate limit.
During a story conference an author confided in me that she didn't know what more she could do with a character. "Has he ever killed someone?" I asked. He hadn't. I then posed the question. "What else has he never had to do, and how could it be what he fears most?"
Her answer was to promote the character from inspector in Special branch, the police departement assigned to cases of high political sensitivity, to commander. No longer responsible for just following orders, Pitt now has to decide in the first place which cases are to become active, knowing that the mere fact of openig an investigation itself ruins lives and reputations. In the twenty sixth book of the series Pitt not only faces this burden, but at the end, with knowledge of guit but in-sufficient evidence to prove it, faces a ruthless traitor alone with gun in hand. He must decide whether to shoot the man dead."
(21 C Fiction, Donald Maas).
Or, how about Butcher's great wizard Dresden:
Everything in me screamed no. That this was not fair. That I should not have to do this. That no one should ever have to do this.
But.... I had no choice.
I found myself picking Susan up with one hand. The little girl was curled into a ball with her eyes closed, and there was not time. I pushed he from the alter as gently as I could and let her fall to the floor, where she might be a little safer from the wild energies surging through the temple.
I put Susan down on the alter and said, "She'll be safe. I Promise."
She nodded at me, her body jerking and twisting in convulsions, forcing moans of pain from her lips. She looked terrified, but then she nodded.
I put my hand over her eyes.
I pressed my mouth to hers, swiftly, gently, tasting the blood, and her tears and mine.
I saw her lips form the word, "Maggie...."
And I....
I used the knife.
I saved a child.
I won a war.
God forgave me.
Make it worse means pushing our characters to the ultimate limit.