3 Alternatives to Killing a Character

We all know the situation.

You’re writing your masterpiece of a story, and things are going beautifully. The plot is plotting, the characters are finally doing what you want, and you’re in a groove. Then, you reach that scene, and you face the dreaded decision: Kill your beloved character or let them live.

Whether you actually kill your character or not, I know you’ve faced this dilemma. As a writer, I think there’s always this moment where the thought crosses your mind and you ask yourself, “Is it time for this character to die?” Sometimes, the answer is a quick yes. But, other times, it’s less clear.

So, to help you make that decision, here are three alternatives to killing your character that will still leave your readers sobbing on the floor at 3am.

*This post contains spoilers for the following books: Harry Potter and The Deathly Hallows by J.K. Rowling, Shadow by Kara Swanson, The Death Cure by James Dashner, Shadow and Bone by Leigh Bardugo (+ the TV show), and The Cruel Prince by Holly Black.

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1. Torture them.

You don’t always have to kill a character to get a point across. Need information from them that they won’t spill? Torture. Need your character to understand the consequences of their own actions? Torture. Need the other characters to act, but they don’t have a reason? Torture.

This option could get pretty dark, depending on the method of torture you choose, but you don’t have to necessarily show everything on the page. A great example of this is when Bellatrix Lestrange tortures Hermione Granger in Harry Potter and the Deathly Hallows. While this scene is much more graphic and intense in the movie, the scene in the book takes place predominantely from the POV of Harry and Ron, who aren’t present for Hermione’s torture. Instead, we’re forced to imagine Hermione’s agonizing screams alongside her best friends as they try to figure out what to do.

If you choose to show the torture on the page, there are still ways to write it that aren’t explicit. Kara Swanson does this exceptionally well in her novel, Shadow, when she depicts Claire’s emotional torture. Her power is used against her, and she is forced to watch as her magic dust burns the boys she loves dearly. However, the scene itself is not explicit. Rather than emphasizing the sensory elements of Claire’s burning dust on the boys, Kara focuses on the emotional distress that this causes Claire. We are horrified by the impact on the boys, but our attention is fixed on how close Claire comes to spiraling back to where she began at the beginning of the duology.

2. Let them leave.

While killing a character is still the most devastating thing you can do, letting them leave is a very close second for me. Why? Because this involves a choice. When a character dies, it’s not always because they’re choosing death. Sometimes death just happens. Without a reason and without a choice. But leaving? That’s almost always a choice.

Even if your character is being “forced” to leave, they’re still choosing to obey that command, order, or not-so-polite suggestion. And there’s something really powerful about letting a character that your readers love choose to walk away.

You shouldn’t have them walk away because it’s an easy choice for you as a writer. That’s basically the slightly less evil version of killing a character because you needed someone to die and it may as be them. You want this moment to matter, not only to the character but to your reader. So them walking away needs to mean something.

A good example of this is Newt leaving his friends in The Death Cure by James Dashner. He leaves while they’re gone because he doesn’t want them to watch him slowly turn into someone he’s not. While the reader doesn’t fully understand the gravity of this moment until later when his friends try to convince him to come back, this moment matters because it shows us Newt’s heart. He doesn’t want to see their faces when they realize he’s not going to get better, and he doesn’t want to hurt them when he becomes a monster.

A less aggressive, but just as impactful, example of a character walking away is when Ron Weasley leaves Harry and Hermione in Harry Potter and The Deathly Hallows. It’s been a while since I’ve read this book, but based on what I do remember, Ron’s choice to leave matters because it has consequences. He instantly regrets leaving, and he has to spend the next few weeks trying to get back to them (but he’s unable to for a long time because they kept moving around). Additionally, it creates added conflict between the Golden Trio and their individual friendships.

On a somewhat unrelated note, this Reddit thread has some really good analyses about why Ron left. I spent a few minutes reading through some comments, and this one made me pause because it points out elements of Ron’s character that I’ve never considered before.

3. Have them betray someone.

When it comes to breaking your readers, I’m a big fan of betrayal. If done right, it not only creates heartbreak and suspense, but it also resonates with your readers. Betrayal, no matter how big or small, is something that I think we all face at some point in our lives. It’s an experience that changes us in ways we never imagined, and I believe that there’s something immensely healing about reading how characters face—and rise above—being stabbed by someone they thought they could trust.

One of my favorite examples of betrayal is how the Darkling betrays Alina in Shadow and Bone by Leigh Bardugo. For me, the betrayal in the book wasn’t a surprise because I’d already watched the TV show. However, when I watched the show, my jaw nearly dropped. I knew that the Darkling wasn’t someone I could trust, and yet . . . Just like Alina, there was a part of me that trusted him. That wanted him to be good so much that I let myself fall under his charm.

And what makes the Darkling’s betrayal so much more devastating is that he appears to be exactly who Alina needs. He teaches her how to use and control her power. He reminds her that her powers are a gift and not the curse she believes they are. He promises her protection, a future where she can make a difference, and even love. So, when all of that is snatched away in the blink of an eye, we—and Alina—are left in shambles as we look back to see where it all went wrong and how we could have missed the clues.

Another good example of betrayal is Locke from The Cruel Prince by Holly Black. What makes his betrayal so devastating isn’t that he was everything Jude wanted or needed, but rather that it was all just a game to him. He’s a clever and sly fae, so his outlook of love and romance is very different from humans. His feelings can change on a whim, and he finds it amusing to trick and seduce Jude all while “testing” (aka hurting) Taryn in the process.

Both the Darkling and Locke betrayed the women who could have been their saving, and this is really interesting to me because the authors purposefully chose not to give either of these characters a redemption arc.

You could obviously choose to take a different route with your character, but regardless of where you ultimately let them end up, the betrayal should reveal character motivations and, if possible, be about something greater than themselves. It could be as deep as the Darkling’s desire to do the right thing through every wrong way possible, or it could be as light as Locke’s desire to amuse himself by playing with the feelings of mortals. But, at the end of the day, betrayals matter to your readers when you show them why it matters to the characters—especially if you can show them how Alina and Jude come out stronger on the other side.

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There are countless ways to break your reader’s heart, and, while killing their favorite character is an author-favorite, sometimes it’s important to consider alternatives.

So, ask yourself: Would killing this character be the most impactful way to move this story forward, or am I just doing it for shock value/because I don’t know what else to do? If your answer isn’t because it’s the most meaningful or impactful way to move the story forward, then you might want to give one of these three alternatives a shot.

Let’s Talk!

Do you like killing characters? Have you ever struggled with the decision of whether to kill a character or let them live? Which of these alternatives do you want to try? Let’s talk all things writerly in the comments down below!