Suicide in Fiction

[Mellohwa]

and I don't glorify suicide, trust me. It ruined everyone's day in the book.
couple books later, the two MC's are *still* dealing with it.

woowww? which book, I want to read itt

If we, as writers. refrain from writing *anything* that *anyone* would file a complaint against? We would have precious little left to write about. i would say we could write recipe books, but... there would be complaints from the "carbs" people. No red meat, god forbid. Sugar, oil. MIlk, eggs, bacon... all get complaints. Hell, can't even write recipe books if all complaints are censored.

Its in my synopsis, murder and suicide are dealt with in the text. I labeled it "adult", and it got among other tags a suicide tag.

mn, you have a point.

 

[TinaMigarlo]

woowww? which book, I want to read itt

the Third Time is the Charm: the Bad Stuff

Five years ago, something unimaginably horrific happened to a sweet and innocent 14 year old girl. In many ways, what followed for the next four years was even worse. When she finally escaped, she naturally thought she had left the nightmare behind. It didn't take her long to discover the tragic...

www.scribblehub.com

 

[seavmun88]

ain't any need for suicide to be depicted. I'd rather see a rocks fall, everybody dies scenario. Suicide in stories are way too risky of being problematic for one reason or another. Ten times as much if it's an isekai protag who self-exits before getting their cool OP perfect new life in the skimpy catgirl world.

 

[Th3Breadnought]

I think it's possible to pull that off, but I can see easily how that could veer into normalization of suicide for those who are struggling and need help, and loss of empathy and urgency for beoader society leading to more of a "shit happens, what can you do?" approach, even though I'm much more of a 'is this qualitative writing?' than 'you ought not to do this or be allowed to do this' person.

I think you have a sharp point about the perception of "suffering being rewarded through escape rather than confrontation" and that's something that I have a strong aversion to when I see it endorsed rather than interrogated through the plot and character development. I'm a 'hold complexity' person who believes two things can be true at once: adversity creates strength and adversity shouldn't be the result of negligence, exploitation, etc.

The story I'm writing deals with suicide as a modern/near-future matter of relevance. The main character helps ghosts move on, and many are the ghosts of suicide victims.

I disclaim in Chapter 1 that there is suicide subject matter, and that I won't depict acts of suicide on page- not even because I think I ought not to, more I just don't think it serves purpose other than being edgy with a sensitive topic- and I try to strike a balance between empathy for the struggles and circumstances that led to those ghost's decisions in life and not endorsing suicide. As well as having my protagonist interact with them genuinely (sometimes awkwardly, he's 19 going on 20) not as a quip-lord.

And my story treats suicide as a symptom of a tragic mental health crisis, not a punchline.

So I think it all comes down to intent and how an author portrays it. But for me, it's kind of like sexual violence (which I'm not interested in depicting) - a salient, sensitive, tragic reality that I don't want to police in creative expression, but that I think ought to be handled with real care and purpose to avoid being edgelord shock value that manages to be both offensive to people who've experienced real suffering personally or 2nd hand, and ineffective in bringing thoughtful attention to real societal issues.

 

[KaorimoHutsuEnaka]

Se una storia inizia o finisce con il suicidio, implicito o esplicito, non si rischia di romanticizzarlo?

Faccio fatica con le storie in cui la morte è l'unica via di salvezza o di un nuovo inizio, come quando un protagonista si è suicidato e poi si è reincarnato in un mondo migliore o con un inizio migliore. Oppure un protagonista deprimente, un protagonista tragico, trova la pace alla fine della storia attraverso la morte, e non solo il protagonista, ma anche altri personaggi.

Ma mi è piaciuto il modo in cui la tragedia e la depressione venivano mostrate in queste storie.

Forse sono solo un po' ipersensibile, ma può essere sgradevole, come se la sofferenza potesse essere ricompensata solo con la fuga piuttosto che con il confronto. Ma ovviamente credo che le storie debbano godere di libertà creativa. Anche se mi ha fatto ricordare ciò che studio in filosofia dell'arte: l'arte riflette la moralità di chi la crea? Forse questo thread è un po' simile a quello di OtherSlater sull'approvazione. Quando la narrazione passa dal descrivere all'approvare?

Come lettore, cosa ne pensi? Le storie dovrebbero affrontare questo aspetto in modo più responsabile, o è accettabile una semplice precauzione nella descrizione del romanzo? :miaooooo: A dire il vero, mi piacciono le storie con temi come il suicidio, o meglio, che ruotano attorno ad esso, senza la parte che ho menzionato sopra. Qualche consiglio?

P.S.: mi scuso per la mia ignoranza se questa non è la sezione giusta.

I onestly think that suicide in stories are have to be...censored... Sometimes. Like in a novel I read when I read about the suicide of the protagonist, I was like "I think i am going to be sick". Soo, suicide have to be not too much graphics, in my opinion, but I think sensitive person think the same thing

 

[Toshiyuki]

My story actually starts with an attempted suicide, and one thing that I wanted to make sure of was to make it clear that this is isn’t the solution, its desperation. Its an escape, not salvation. Another way to not romanticize suicide is to show the ugly side of it. The anger, the screaming, the pain, all of it. Don’t make it some sollemn, sacrificial, beautiful moment. Make it terrifying, sickening, and ugly

 

[Yawgmoth]

If a story begins or ends with suicide, whether implied or explicit, does it risk romanticizing it?

I struggle with stories where death is the only way of salvation or for a new beginning, like when a protagonist committed suicide and then reincarnated into a better world or with a better start. Or a depressing protagonist, a tragic protagonist, finds peace at the end of the story through death, and not just theprotagonist, but other characters too.

But I did like how tragedy and depression were shown in such stories.

Maybe it’s just me being oversensitive, but it can feel uncomfortable, as if suffering can only be rewarded through escape rather than confrontation. But of course, I believe stories should have creative freedom. Though it made me remember what I study in art philosophy: does the art reflect the maker's morality? Maybe this thread is a bit similar to OtherSlater's thread about endorsement. When does storytelling cross from depicting into endorsing it?

As a reader, what do you think? Should stories approach this more responsibly, or is it okay with just a precaution on the novel's description? Tbh, I kind of like stories with themes like suicide, or rather revolving around it without the part I said above. Any recommendations?

P.s; I'm sorry for my ignorance if this isn't the right section thread.

def. not romanticizing unless the situation is set up for it.
idk why u would struggle with such stories. escape by death is simply the way with lowest resistance for some situations, like permanent intense pain periodically or not without a realistic fix. so it s normal that ppl would choose to end their suffering and damned be the ones trying to give u false hope because of their own convictions. this mostly depends on how it is presented though because a truly hopeless situation is rare and hard to portait without ur typical "i m the author, i say so" justification.
if u truly feel uncomfortable about it, stop reading those stories or skip over the situation. it s something i do often with stories i start to dislike which is by it s own measure a type of escaping or freeing urself of such garbage.

 

[Mellohwa]

This got a lot of traction :O
I'll start replying once I'm free.

 

[Frestea]

This got a lot of traction :O
I'll start replying once I'm free.

Bold of you to assume you'd ever be free.

 

[JordanIda]

I don't mind depictions of suicide in mainstream dramatic novels. Suicide really happens. Realistic portrayals of fictional events may sometimess require it, if the story demands it. And if the story is giving a realistic portrayal, it must inevitably contend with surrounding events and the aftermath. This I appreciate as well: that the act is conveyed with maturity and honesty. Rather than sensationalized or trivialized.

What I don't like is suicide in fantasy. Then it's merely gratuitous. Tossed in for shock. Or worse, it's construed as a "redo" or "restart," with some nonsense like "reincarnation." As though life affords us takebacks, like the endless lives in Kirby's Magic Yarn. Then we're just taking the most tragic and senseless event in human experience and reducing it to a trite plot conceit, for shock or convenience. And if it's trite, are we not begging the question? Why bother with it at all? Why not just cut it out?

Fantasy has its place, and I do enjoy fantasy to a point. But I have little patience for stories that trivialize human tragedy. Just can't read them. But that's just me.

 

[Mellohwa]

Bold of you to assume you'd ever be free.

nvm, I will reply tomorrow morning; I'm tired and sleepy
.

 

[A-Random-Writer]

While yes as an author you do have the creative freedom to show and use suicide in your story, you should be very careful with how you do it. You shouldnt make it seem like a good thing. You just need to careful in general as your writing still has effects on other people and maybe that once sentence could push them over the edge.

 

[TinaMigarlo]

I onestly think that suicide in stories are have to be...censored... Sometimes. Like in a novel I read when I read about the suicide of the protagonist, I was like "I think i am going to be sick". Soo, suicide have to be not too much graphics, in my opinion, but I think sensitive person think the same thing

then?
god PRAY @Zinless don't ban me for it...
but...
tags, little one.
if you are so fragile, if you see a "suicide" tag?
don't read it.
I mean.. Hero's? Give their LIVES to fix the world, in epic novels.
its the ultimate sacrifice, its the ultimate good thing to do.

a hero can be no more of a hero, than giving their life, to fix things.
read: "I, Robot" - Isaaac Asimov. The hero before the MC, gives his life. WIllingly. To save us. Very... christ like

 

[LeslieLevendale]

If a story begins or ends with suicide, whether implied or explicit, does it risk romanticizing it?

I struggle with stories where death is the only way of salvation or for a new beginning, like when a protagonist committed suicide and then reincarnated into a better world or with a better start. Or a depressing protagonist, a tragic protagonist, finds peace at the end of the story through death, and not just theprotagonist, but other characters too.

But I did like how tragedy and depression were shown in such stories.

Maybe it’s just me being oversensitive, but it can feel uncomfortable, as if suffering can only be rewarded through escape rather than confrontation. But of course, I believe stories should have creative freedom. Though it made me remember what I study in art philosophy: does the art reflect the maker's morality? Maybe this thread is a bit similar to OtherSlater's thread about endorsement. When does storytelling cross from depicting into endorsing it?

As a reader, what do you think? Should stories approach this more responsibly, or is it okay with just a precaution on the novel's description? Tbh, I kind of like stories with themes like suicide, or rather revolving around it without the part I said above. Any recommendations?

P.s; I'm sorry for my ignorance if this isn't the right section thread.

You probably have heard about the most famous case: The sorrows of young Werther by Goethe. After it had been published in several European cities young man dressed like Werther and committed suicide in a similar way as Werther.
Y

If a story begins or ends with suicide, whether implied or explicit, does it risk romanticizing it?

I struggle with stories where death is the only way of salvation or for a new beginning, like when a protagonist committed suicide and then reincarnated into a better world or with a better start. Or a depressing protagonist, a tragic protagonist, finds peace at the end of the story through death, and not just theprotagonist, but other characters too.

But I did like how tragedy and depression were shown in such stories.

Maybe it’s just me being oversensitive, but it can feel uncomfortable, as if suffering can only be rewarded through escape rather than confrontation. But of course, I believe stories should have creative freedom. Though it made me remember what I study in art philosophy: does the art reflect the maker's morality? Maybe this thread is a bit similar to OtherSlater's thread about endorsement. When does storytelling cross from depicting into endorsing it?

As a reader, what do you think? Should stories approach this more responsibly, or is it okay with just a precaution on the novel's description? Tbh, I kind of like stories with themes like suicide, or rather revolving around it without the part I said above. Any recommendations?

P.s; I'm sorry for my ignorance if this isn't the right section thread.

You might also be familiar with some examples from the world of operas. One of the most famous operatic suicides is that of Cio-Cio-San from Madama Butterfly by Puccini. The final scene is staged as a ritualised and romanticised act of suicide. Interestingly, one of Puccini's other operas Tosca is often said to be an operatic glorification of self-destruction. I don't think though that any of these have eventually led to an outbreak of suicide in the "fan groups".

 

[KaorimoHutsuEnaka]

Poi?
Dio PREGA @Zinless di non bannarmi per questo...
Ma...
tag, piccolino.
se sei così fragile, se vedi un'etichetta con la scritta "suicidio"?
non leggerlo.
Voglio dire... Eroi? Danno la loro VITA per sistemare il mondo, nei romanzi epici.
è il sacrificio supremo, è la cosa più buona che si possa fare.

Un eroe non può essere più tale di quanto non possa dare la propria vita per sistemare le cose.
Leggi: "Io, Robot" - Isaac Asimov. L'eroe prima del MC, dà la sua vita. Volontariamente. Per salvarci. Molto... simile a Cristo.

Hands up, everyone have Is view, bruh. But If Is a sacrifice, I agree with you.

 

[TinaMigarlo]

I didn't know I spoke Italian so well.
grazi.

 

[Emotica]

I think any topic comes with risks, and sensitive ones come with more risks. If you're not taking risks, then are you really creating anything at all? I'd say that authors should do their research, in general, but especially so with sensitive topics. It's not even just because you want to have a "good take," but you'd at the very least want to be portraying the themes you're engaging with in a way that you would if you truly understood them. The only way to understand would be through experience or research. Sometimes, often actually, writers purposely subvert expectations with how to they deal with sensitive topics, which if planned, will usually come off much better than any clumsy and accidental portrayal.

I think the real mistake that authors often make is in adding dark themes without considering if they actually need to be added. If you add a dark topic and don't put even a little effort into making it substantially relevant to the narrative, then you can't exactly be surprised if that puts people off.

 

[TinaMigarlo]

I think the real mistake that authors often make is in adding dark themes without considering if they actually need to be added. If you add a dark topic and don't put even a little effort into making it substantially relevant to the narrative, then you can't exactly be surprised if that puts people off.

I agree. I use the dark themes to create the conflict. Its the meat of the "hero" sandwich. Take those dark themes out, you just have bread with nothing between. And what's bread alone, I ask you. a side dish, if even that. A hero needs great evil to fight against.