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You have reached Maine's largest and most trafficked website. 

The official website of Stephen King's Thinner Gypsies

As of February 2021, we are now getting up to 7 MILLION visits per day!

This is the home page of

Maine author, artist, Voodoo Priestess, Gypsy Queen, and art car designer:

EelKat Wendy Christine Allen

Chances are high, I'm the most famous person, you'll ever meet.

I am EelKat

The REAL Gypsy Witch Stephen King based his Thinner Gypsy witch off of

and owner of the REAL World's Most Haunted car,

the car Stephen King based his fictional Christine off of,

My family, we are the Gypsies you see in The Thinner, the movie was filmed on my farm,

Founder of The Procter & Gamble Boycott

EelKat of Squidoo, EelKat Voice of the Voiceless.

EelKat Etiole's Friend.

We are the Gypsies of Old Orchard Beach, Saco, Biddeford, Scarborough, Wells, Kennebunk, Sanford, Bangor, and Palmyra, Maine.

This website started in 1996 and is updated, edited, and added to daily. (NOTE do keep in mind since the April 10, 2015 murder of my children, this site is no longer updated daily, and very few new writing articles are added any more - since 2015 updates have been about weekly and usually are about the continued ongoing investigation into the murder of my family.) 

As of 2021 it has more than 10,000 pages. However, only around 2,000 pages are indexed by search engines (robot blockers and/or passwords, prevent the rest from being findable by Google/Bing/Yahoo/etc.). Around 8,000 pages can only be accessed by clicking on direct links to them. The links are found on other pages on this site. Confusing? Perhaps. But whenever one of those difficult to find 8,000 pages gets traffic, I know that you are VERY dedicated in reading what I wrote or doing some stalker level digging to reach those search engine inaccessible pages and I'd rather not waste my time writing stuff for uninterested parties, plus it's fascinating to see how deep some people are willing dig to find every last word I wrote.

I published my first novel in 1978. Since then I have published 138 novels, 30 non-fiction books, 2,000+ short stories, a dozen plays, a few comic book scripts for Disney's Uncle Scrooge and Donald Duck comics, a few dozen novellas, and 10,000+ non-fiction articles.

I am asexual and famous for 4 decades of writing 100% sexless stories, laced in extreme blood-gore-and-violence. But in spite of that, in recent years, most people classify me as an Erotica author. I don't know why, as I've never written Erotica or even any sex scenes, and as I am a nun, raised as such from the age of 3, I wouldn't even know how to write sex or Erotica. If you came here looking for sex, BDSM, Erotica, or Dominatrix's, please return to whomever sent you and tell them to burn in Hell where their immoral ass belongs. Also, do tell me their name so I can put a curse on them, so they will never enjoy sex ever again, to punish them for spreading lies about me and connecting my name to anything related to sex at all. I find sex vile and despicable and want no part of your perverse degradation near me.

All of my fiction works are about Alien Elf Wizards who live in Old Orchard Beach, Maine. All of my non-fiction works are about the history of Maine, it's Gypsy Clans, and most especially Old Orchard Beach the town which was settled and founded by my family.

Most of these pages answer reader questions on the worldbuilding, character creating, plotting, writing, editing, and publishing process of my work. 

Others are on the history of my people, The Gypsies of Maine, our culture, our lifestyle, our cars, and our religion.

The rest of the pages are daily updates of the terrorist attacks by Maine's White Supremacists on my non-white family, including updates of the FBI investigation of the April 10, 2015 murder of my children.


Due to the murder of my family and the resulting court cases, police investigations, and FBI investigations, I no longer have time to daily update this website.

Likewise ALL novel, short story, and article writing projects are on hiatus.

All book releases, book signings, workshops, and convention appearances for 2015 (and unknown amount of time after) are on hold while the murder investigation of my family is ongoing.

Writing advice for the worldbuilding, character creation, and other writing how to articles are on hold.

From now on, the bulk of updates here will be about the investigation into the murder of my family.

No, NOT just THIS author website, not JUST the EelKat pename, not just self published books: ALL 15 (fifteen) of my penames are on hiatus, that includes traditional published books as well, newspaper reporting jobs, editing jobs, my work for Harlequin Romance Novels, my work for Disney... EVERYTHING is on hiatus. Every publishing house I work for, every series I write, every penname I write under: they are ALL on hiatus, ALL projects.

There is NOTHING being published under ANY penname, not for ANY series, not for ANY publisher, from 2015 onward. EVERYTHING is on hold due to the murder of my family. I do not know when or even if, any of the projects will be restarted or finished.

Yes, BOTH the magazines I owned are indefinitely shut down because of this as well, with no plans for either magazine to return. The publishing house I own is also closed to submissions from now on, we will no longer be publishing anything. It is unlikely we will reopen the publishing house either.

All book signing tours, workshops, letures, PAX events, ComicCon events, carnival/festival/state fair/car show events are also canceled. I will not be attending ANY of them. If a venue still has my name listed as a guest/speaker/etc it is because they've not yet removed it. I WILL NOT be there, no matter where it is! 


The ONLY thing continuing from this point on, is THIS website, where I'll post updates on the murder investigation, hopefully every week, but, you know how it is when 10 members of your family are beheaded, it's kind of difficult to have a schedule for anything anymore.

April 10, 2015 my 12 children were kidnapped,
from 146 Portland Ave. Old Orchard Beach, Maine.

May 15, 2015, ten of their heads were nailed to my door.

Do you have information?

FBI Agent Andy Drewer out of the 
Portland, Maine FBI office is in charge of the case.

If you have information about the April 10, 2015 murder of my family 
or any of the attacks on our home and relatives, give it to him not me.
He can be reached @ +1-(207)-774-9322 

The Reader Impact of Minor Character Deaths 

EelKat on Character Creation

The Impact of Minor Character Deaths

The Impact of Minor Character Deaths

Discussion in 'Character Development' started by Lyon06Oct 24, 2017.

One thing I’ve been having difficulty within the process of plotting out my story is the deaths of two minor characters, but for two different reasons.

The first death is my MC’s mother and his entire village (around 30 people). This what kickstarts my MC into his journey since he believes the Big Bads of the story did it, and it will also serve as a bigger plot point later on. What I’m having trouble with is how I’m even supposed to write it without it feeling like a cheap plot device. Since this is at the very beginning of my story I’m wondering if I should start before the fire (the cause of death) and actually introduce his mother and some aspects of his relationship with her, or after the fire, when he’s returning from the marketplace (about a week’s journey) and just noticing the residual smoke in the air. Should I expect readers to really care about his mother or his village?

My second character death has its own issues. This character will be in the book for a few chapters as he’s helping the main group out by making them weapons. His death is also essential to my plot, as it shows the Big Bads are a serious threat and it also prompts an otherwise reluctant character to join in the fight. For his death, he’s going to be killed by one of the Big Bads as he attempts to save another character (the person closest to him, who is unaware of what’s happening). The main group has already left his home at this point and I was going to put the chapter in his POV (Since I alternate between my two MC’s POVs). As it is, I want readers to be crying over his death but am unsure as to how I’m supposed to endear him to the audience in the span of a few chapters.

For context, he’s basically a god of the afterlife in the body of a sixteen-year-old boy (though he’s been alive for much longer) so he’s very empathetic and has a feel for the souls of others. All animals love him and he loves all animals, he takes care of them when they are sick or injured, he’s basically Snow White but can also talk to dead people. His death also won’t have as much impact on my MC, since they just met, but it will severely affect one of my more major characters (as she saw him as a brother) and the character he died protecting (who will join the group because of this.) He’s based on a few different characters and people I know but I still wonder if he’s coming across as too nice. Should I show some of his flaws? Or is it okay because it’s only a few chapters?

Sorry if I'm rambling, it's just something my brains been stuck on for the past few weeks and it's incredibly frustrating. Any insights or advice is welcome, and I will be forever grateful!

How do you want the death to impact your main character emotionally? I think that's the question, rather than how you want it to impact the reader. There really is no reason for the reader to become emotionally invested in a book's minor characters.

Your MC's mum dies in a fire. Okay. You could show a prologue about the boy and his mum and show how happy they were together, blah, blah, blah... and then show the fire and she die, and him go off on his quest.

But ask yourself this... would you as a reader, read a prologue? How many readers actually read the prologue? Not very many actually.

As a general rule, never put anything important that could be skipped in the prologue because most readers skip the prologue.

You have a story to tell and the story is the boy's quest which happens after his mum died, right?

Okay, so start the story right there, right at the point of his leaving for his quest. There is no reason to put in the back story of why he went on his quest, right at the beginning.

Or, you don't even have to start the story at the beginning of the quest, for that matter.

If you want to start out with the fire, a better place might be, to start with the fire, just as it's ending... tell a paragraph that reads something like this...

"The fire swept through the village before anyone knew it was there. It all happened so fast. I tried to save her. My mum.  heard her screams... but... I couldn't get in. The flames... the smoke... I tried. I swear I tried."

He broke down in tears, sobbing, unable to finish telling the story of why he'd started this quest. His comrades knew his sorrow. They too had each lost someone close to them. They to had set out on this journey in the memory of a loved one.

See, now, in this example, I did not write a big scene about the deaths or the fire, but rather, I wrote this as the opening scene of the novel, with the character, telling his friends what happened. But I did not include all the details of the death or the fire. I only included enough to tell the reader:

  • there was a fire
  • his mum died in the fire
  • whatever this quest is he's on, it was a result of the fire
  • the others with him, also lost loved ones and are questing with him

This sets the paces of the story, without bogging the reader down in unnecessary details. No reason to put the fire or the deaths on the page.

I always find it best practice, if you can move something to dialogue, to do so. Dialogue moves faster and doesn't leave the reader skipping over large blocks of narrative text.

If he was emotionally close to his mum, then the death could have a lasting impact throughout the story, with him constantly referencing back to "My mum used to do___" and "I miss my mum's cooking" etc. Show him grieving and the readers will feel sad with him.

This helps the reader to feel emotion for the character, by showing them he is sad. They don't need to know his mum. They only need to know that he misses his mum.

Of course, if you have plot reasons for showing the fire and her death then there is no reason to not show it. It's your story after all and you know what you want to tell your readers.

You may not even have to show the death or introduce the mum, but rather start the story with him doing his questing stuff, then at some point before the end of the first chapter show him telling another character: "They murdered my mum, you know." He doesn't even have to go into full detail yet. Just that one line tells the reader his mum is dead and someone killed her.

You could continue on in this way, with him dropping clues about her death in conversations, but never describing the full scene of her death in detail and letting the reader put the puzzle pieces together on their own.

In my long running series, Quaraun's mother died when he was 3 years old and he witnessed her murder. It traumatized him, but the incident is not even mentioned until the 3rd novel of the series. Throughout the series you see him mention his mum's death, but if you start to pay attention, you'll notice he describes it different every time, and those close to him, start to realize, he was so young when it happened, that he really doesn't know what happened.

Now, I have other characters in the series, who's mums died, but, it'll just be mentioned in passing and no details given, because for those characters, the deaths are not important to the plot. But for Quaraun, his mum's death is important, because it was the shock of witnessing her death that resulted in his warped view of certain people in his life. So in this case, knowing details of his mum's death becomes important, because it hints to certain aspects of other characters.

At no point however is the mother ever introduced as a character, nor is her death scene ever put on the page. This is because there is no need for the reader to get to know her as a character and, leaving the details of her death unknown, is a plot device, which allows the reader to see Quaraun as an unreliable narrator.

So, you see, how you write the death itself, is important to the way you want to reader to see the story.

In some stories, getting to know the dead character, may be important for the reader, and I've seen some authors do it where they rotate chapters. Say,

  • Chapter 1 shows the fire flashback.
  • Chapter 2 shows the main character in current events.
  • Chapter 3 shows a flashback before the fire with a younger main character interacting with his mum.
  • Chapter 4 is current times with the main character.
  • Chapter 5 is an even older flashback.

Etc. Like that, so that the reader gets to know the character's mum a little at a time.

It all depends on the type of story you want to tell and how you wish to convey it. So there's really no right or wrong answer here.

The character death on the way a few chapters in, could be a bit more difficult, if you are trying to go for tear jerking the readers. You'd have to really put the to-be-killed-character right front and center, almost to the point of feeling like he was the main character, so readers are really rooting for him and then BAM, he's dead and readers are... wait...what? But... but... wasn't that the main character? Then the real main character takes over. I've never written a story that used this sort of thing, so not sure exactly how one would go about it.

As for the everyone in the village dying... Quaraun is seen by people in his world as sort of a jinx because every time he arrives at a village, it ends up razed or something. 

So, I've written several dead village scenes, and the way I do it, is to show him arrive and have a scene of him interacting with people, show the town/village/city as more a less a nice happy place to live, show a few families living their lives. Nothing big, just, so the reader goes "awh what a cute couple, what a nice family" that sort of thing. Then move on to Quaraun doing his thing, moving the story along, then BOOM, without warning cut to a scene where the city is in ruins, charred bodies in the street, smoldering houses, and Quaraun is standing watching this... He's all "Oh no, not again" and the reader knows the people he just meet are all dead, but the deaths are not on page. It lets the reader know everyone in the village is dead without doing a scene by scene death of each person.

Again it depends on the type of story you want to tell and how you wish to convey it. So there's really no right or wrong answer here.

As for, should a character exist just to die.... yeah, I do that a lot. 

My latest novel in the series for example, Quaraun comes to this village where child sacrifices are happening and he rescues this little boy early in the novel. The boy's parents have already been murdered, and he can not find any relatives, so having lost his own children, takes the boy in as his own son.

You see a very close relationship form over the course of the novel, between Quaraun and Elwin and the story leads the reader to believe they'll be seeing the boy as a regular character throughout the rest of the series.... until the very final scene of the novel when the boy accidently falls into a trap and bleeds to death before Quaraun can get him out of it. 

While the death serves no purpose in this particular novel.... the death is important to the next novel in the series, when Quaraun is now seen as emotionally crushed after the boy's death and it brings back PTSD flashbacks of the deaths of his own children.

The boy in this novel, existed for one purpose: to die and trigger a mental meltdown Quaraun would have in a future novel.

So, yes, characters can exist for the purpose of dying. They often do.

Of course, it also happens that a character starts to hold the story back and becomes a drudgery to write.

And let's face it, if a character starts to bore the author, you can be certain they are boring the reader as well.

This is a case of the character has served their purpose and using them any longer takes away from the story. So you now have the choice of sending the character away or killing them off.

This happened to BeaLuna and Bullgaar.

Originally two of the series' primary characters, I simply grew bored of writing them. I began to find it difficult to find useful places for them in the story, and so I wrote a story in which Quaraun actively tries to get rid of them.

In The Vampire Leprechaun of Fire Mountain, the final scene ends with a new character showing up and warning BeaLuna and Bullgaar to stop following the Necromancer. FarDarrig tells them that if they continue on this path, they will soon die.

They assume FarDarrig's warning to be a threat...

...until in the very next novel (The Obsidian Idol of the Elf Eater of Pepper Valley) Quaraun has had it with their bullying him and tries to sacrifice them on an altar. They escape at this point, and Quaraun travels on without them.

However they meet up again for a brief scene in The Vulgar Alchemist Inn, when BeaLuna and Bullgaar, turn on Quaraun's lover Unicorn, accusing Unicorn of being the cause of Quaraun's increasingly evil behaviour. Quaraun is torn between loyalty to his friends and loyalty to his lover, and ultimately tells them to leave and not come back, choosing to stay with his lover, Unicorn.

The duo sees their last use in volume 8 of the series, when BeaLuna and Bullgaar, worried about Quaraun's failing mental stability, once again join him in his travels, this time as they trek across the Valley of the Katopis in search of a healer for the dying Unicorn.

In Quaraun and The Vampire, Into The Swamp of Death, the following events unfold:

Resulting in two characters who were no longer serving any plot purpose, being removed from the series, via a very dramatic death scene that ushered them out on a new story arch that was created to further show the reader, main character Quaraun, is in fact not the hero but the villain of the series.

It took so many volumes to remove these characters from the series, because I kept thinking there might be a place for them later on. In the end, they were bogging the story down, so I instead of chasing them away yet again, I just had Quaraun kill them and be done with it.

So this is an example of taking a character death and using it to push the story forward. In this case, it shows the reader once and for all, that the rumors are true and Quaraun really is the evil villain, the people of his world claim his is. Up to that point in the series, the reader sees him only as a hero, and is never fully made to realize that in spite of being the main character he is also the main villain of the world he lives in.

Thus I took a character death and made it meaningful to the plot. 

I could have simply had BeaLuna and Bullgaar die in a mudslide or something, far less dramatic then the ritualistic sacrifice Quaraun used to dismember them, but that would have had not real impact on the story, the plot, or the main character.

So, when killing off your minor characters, always look for a way that will move the story plot forward rather than just having them die for no real reason other then to remove them from the story.

In the end, my goal is never to draw the reader towards the characters who died, but rather to draw the reader closer to Quaraun. He is affected by the deaths, yes, but the readers are affected by his responses to the deaths. The readers do not care about Quaraun's dead mum, but they care about him, and feel sad with him, because he feels sad, not because they feel anything for the mum or the dead friend, or whatever.

In the end, it's your novel, you know the story you want to tell, so write it your way.

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