One thing I really hate is when a happy ending is unrealistically perfect.
How am I supposed to believe that this group of six characters all survived a war or monstrosity without any casualties? Or, that against all the odds and a million meetings with death, the picture perfect couple made it out without a scratch.
It statistically and rationally does not add up, and can really make a reader or viewer rethink the severity of whatever problem arose in the first place, because how can so many people be so lucky and make it out alive?
However, what I hate even more is when writer’s decide to take these odds into their own hands, realizing someone has to die for their blood-ridden plot to be taken seriously. They can’t kill the lead because they are the backbone of the novel or movie, bringing the whole group together as they narrate the journey, but they also can’t kill the significant other because what was it all for if not for them to end up together?
“Oh I know,” thought the author, “I’ll just kill off the picture perfect, incredibly lovable side character that everyone will probably care about more anyway.”
It adds that dangerous plot point, that moment of grief where the crowd goes collectively silent or jaws drop as the reader comes to terms with the heartbreaking words on their page.
Yes, it adds a serious tone to whatever occurrence killed them, and yes, it’s a shocking twist that leaves everyone stunned, but maybe for the sake of everyone’s sanity there should be some more creativity with fewer tears to keep the story going.
We have all seen it before, with Newt in James Dashner’s “The Maze Runner” series, getting infected in the last novel, or the tragic death of Finnick Odair at the end of Suzanne Collins concluding novel “Mockingjay,” that broke hearts across the fandom. Outside of dystopia and fantasy, it was also seen in “Five Feet Apart” with Poe Ramirez’s unexpected passing.
Having injuries, deaths and other major turns in a narrative is key to making an interesting and unique plot, but that perfect character that supports the main characters through thick and thin, breaking the tension with a funny quote or solving the mystery while the others are still looking for the first clue, should not have a target on their back just for the sake of some shock factor.
Honestly, it’s been used so many times in dystopia and fantasy in any form that it’s even becoming a bit predictable.
It has gotten to the point that when a character outside of the main two is given so much attention, or is so unproblematic and perfect that it feels like they are going to be the sacrifice for the ending, they are only written for the purpose of death. The intention and fate of the character is seen a mile away by the audience or reader before their grave is even dug and their duty for the story fulfilled.
Writers may need to go back to the drawing boards and get a bit more creative to generate any unexpected point in their story because running back to this crutch of a plot point is just unenjoyable and unimpressive with the amount of books and movies that have used it by 2025.
I think this idea dying would be the best shock yet.
There has to be some better option that keeps the seriousness of a tragedy, any battle, infectious disease outbreak, perfect love story or even coming of age novel that gives us the twist and unpredictability we want, without the loss of an innocent character that was just along for the ride.
So writers, I beg you, please shock me with your creativity.
