I'm glad you like the counting of the steps; I think it does do a good job of stringing the narrative together, though that's not what I actually had in mind. I also tried for a more tactile sense in the different sensations (dirt - steel - linoleum - wood), especially because he couldn't see, though I don't think it was powerful enough to bring the imagery and sensations forward.
So, for the death thing.
Well, hm. Internal psychological problems leading to a manifestation of death?
More seriously though...specifically in this one, much like the Apples and Technology one, I actually wanted to leave it open-ended, though it seems that I'm almost getting typecast as killing off my protagonists. Ten paces is close enough to take one, maybe two steps, and then leap for one of the ropes on the bridges and possibly make it. To me, when I was writing it, this was actually a piece that didn't end in death when I was writing it, though it does have some ambiguity to it.
In general, though, I don't write my pieces to aim for or go for death specifically; it's more for the twist, as one, and to bring out a certain emotion; none of my characters die 'just because'. For Single Entrance, it was to really exemplify the despair that the researchers felt, for Wayfaring Stranger it was because it fit the 'rapture whether or not you want it' theme. In 'Waterfowl', it was to illustrate sadism. I realize that it seems to be getting at least slightly pervasive, but if so, it is at the least, not intentional, though I still think it feels right.
no subject
So, for the death thing.
Well, hm. Internal psychological problems leading to a manifestation of death?
More seriously though...specifically in this one, much like the Apples and Technology one, I actually wanted to leave it open-ended, though it seems that I'm almost getting typecast as killing off my protagonists. Ten paces is close enough to take one, maybe two steps, and then leap for one of the ropes on the bridges and possibly make it. To me, when I was writing it, this was actually a piece that didn't end in death when I was writing it, though it does have some ambiguity to it.
In general, though, I don't write my pieces to aim for or go for death specifically; it's more for the twist, as one, and to bring out a certain emotion; none of my characters die 'just because'. For Single Entrance, it was to really exemplify the despair that the researchers felt, for Wayfaring Stranger it was because it fit the 'rapture whether or not you want it' theme. In 'Waterfowl', it was to illustrate sadism. I realize that it seems to be getting at least slightly pervasive, but if so, it is at the least, not intentional, though I still think it feels right.