Comments on: Getting the most from secondary characters in 3 steps http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/ about the craft and business of fiction Wed, 23 May 2012 23:52:59 +0000 hourly 1 http://wordpress.org/?v=3.3.2 By: thea http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115274 thea Wed, 27 May 2009 15:21:51 +0000 http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115274 yeah, writerunboxed is an excellent resource in so many ways. thanks, WU!!! oh, what the heck: xoxoxoxo yeah, writerunboxed is an excellent resource in so many ways. thanks, WU!!! oh, what the heck: xoxoxoxo

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]]> By: prue batten http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115258 prue batten Wed, 27 May 2009 10:51:05 +0000 http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115258 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. 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.

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]]> By: thea http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115173 thea Tue, 26 May 2009 17:00:12 +0000 http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115173 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’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.

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]]> By: Becky Levine http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115097 Becky Levine Mon, 25 May 2009 22:25:21 +0000 http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115097 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. :) 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. :)

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]]> By: Marc Vun Kannon http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115083 Marc Vun Kannon Mon, 25 May 2009 20:03:41 +0000 http://writerunboxed.com/2009/05/25/getting-the-most-from-secondary-characters-in-3-steps/#comment-115083 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. 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.

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