There is no better place to plot the death of a character than when you're miserable and working out.
Sentiment: NEGATIVE
The destructive character lives from the feeling, not that life is worth living, but that suicide is not worth the trouble.
I think it's a question which particularly arises over women writers: whether it's better to have a happy life or a good supply of tragic plots.
Death is either an incredible ending to a story or, more often than not if you ask the right questions, it's the beginning of a story.
If a character dies, you get to do a big, juicy death scene. But the flip side is you're out of the sequel, which is where the real money is.
I've never thought of my characters as being sad. On the contrary, they are full of life. They didn't choose tragedy. Tragedy chose them.
Death is a very dull, dreary affair, and my advice to you is to have nothing whatsoever to do with it.
Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly. Maybe I'm drawn to it as a story element.
Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly.
Grief doesn't have a plot. It isn't smooth. There is no beginning and middle and end.
It's all about creating a back story for the character and developing emotional responses that are true to life in relation to the character. It isn't necessary to live a tragic life to create from that place.