I seem to have to make my characters family before I can access their hearts in any way that matters.
Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.
When I was thinking about these women characters, no matter how bad a person I am - a bad writer, my limitations, my sexism, you know - the thought was, it would be useful as a writer to try to create a template for all the male writers, especially Dominican male writers, especially males of color, of how a writer can use seeing to create more nuanced representations of women.
My thing is, I'm just way too harsh. It's an enormous impediment, and that's just the truth of it. It doesn't make me any better, make me any worse, it certainly isn't more valorous. I have a character defect, man.
There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.
Character is the plot in many ways
In my mind what novels do best is that they immerse us deeply into our character's world - they truly transport us deep into these spaces - but the same way you know a Hollywood movie won't end after thirty minutes, you carry in yourself the implicit contract that the novel won't throw you out of itself 'til the very end. That bulk of pages is a form of consolation, of security.
