Getting the most from secondary characters in 3 steps
May 25th, 2009 by Kathleen Bolton
Character month is wrapping up, and Therese and I answer your questions.
Becky Levine asks:
I’d love to see a discussion about the idea that secondary characters reflect (in some way) an aspect of the hero–how you juggle/balance that with making each of them independent/interesting characters in their own right.
Great question, Becky. Who hasn’t created a secondary character only to have that character steal the limelight away from your protagonist and/or demand you tell their story instead of the one you intended? I keep mine in line this way:
Getting the most from your secondary characters
1. Contrast to compare.
You’ll be able to highlight your protagonist’s characteristics more brightly if you have them interact with a secondary character who has the opposite characteristic. For example, if your main character is a ball’s out, fearless daredevil, make her partner a cautious milquetoast. Is your hero an analytical fusspot? Have his sidekick be a free-spirit. You’ll be able milk more conflict out of the relationship and thus highlight your protagonist’s main character tag even more.
2. Give secondary character one defining characteristic (ideally in opposition to your protagonist)–and leave well enough alone.
There’s a reason it’s called a secondary character: it’s there to help you tell your protagonist’s story. It’s not there to have a fully-formed backstory. We don’t need to know if they graduated high school summa cum laude (unless it’s material to the story) or how many siblings they have. It sounds cruel and counterintuitive, but the more you invest in your secondary characters, the less attention you pay to the one who really needs your attention: the protagonist. Give your secondary characters enough love to get the job done, then move on.
3. But don’t fall back on cliches.
Need an high school jock to stir up conflict between your nerdy protagonist and the girl-next-door but you don’t want him to be an arrogant meathead? Think of a character tag outside the box to make him fresh to your reader. Maybe the jock has a physical handicap that he’s overcome. Or works at the SPCA shelter after school. Go through all the cliches you can about high school jocks and run in the opposite direction. One good character tag will make him seem fresh to your reader and provide more juicy conflict for your protagonist.
Thanks for the question, Becky!
Image by herbstkind.
5 Responses to “Getting the most from secondary characters in 3 steps”
Not so sure I go along entirely with this. I create my characters much the same way. In all cases these characters come to me all unknown, and I spend the book discovering them, strengths, foibles, hair color, and all. I have never designed a character for a part, mainly because I never create the parts before I get there as I tell the story. (I’m a complete pantser, in case you haven’t guessed.) The hero tends to be more fully developed mainly because he’s first, and therefore the majority of the story will flow through him, but not always. Strong leads work best when highlighted by strong secondary characters. My most recent MS has a main character who brings the story about 3/4ths of the way, but the resolution of the story is performed by the two villains, working somewhat at cross-purposes, and the two female romantic leads working in concert, fighting it out around and because of him.
I will admit that this technique makes for stories that are very difficult to categorize or decribe in a synopsis.
Thanks, guys. I really love the first one. I was sort of trying to avoid thinking about why one of my secondaries was in the plot, other than just ’cause every teen girl needs a friend, and then–whoa! her problem jumped out at me that gives lots of reason for her being a contrast with the MC. I have NO idea where that problem came from or how I’m going to deal with it, but I’m pretty sure it needs to be there. :)
i’ve read some books with good examples of what NOT to do with secondary characters. Like use them as a human telephone between the two main characters – when the best friend has to explain to the guy why the woman he loves can’t reveal a key truth about her actions. Or a secondary character who is a know it all therapist explaining to the main characters what they are feeling or not handling right. A misused secondary character cheats your protagonists of their need to grow personally. It’s sort of like telling instead of showing.
I have only recently been made aware of writerunboxed and I have to say how much I enjoy your discussion topics. I have had the most awful block on a character until today and suddenly, with a little bit of study of your posts, I have broken the drought and moved forward.
Thank you so much.
yeah, writerunboxed is an excellent resource in so many ways. thanks, WU!!! oh, what the heck: xoxoxoxo