{"id":2371839,"date":"2016-11-03T10:12:39","date_gmt":"2016-11-03T15:12:39","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371839"},"modified":"2022-02-03T13:39:56","modified_gmt":"2022-02-03T19:39:56","slug":"writing-secondary-characters-stand-crowd","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/writing-secondary-characters-stand-crowd\/","title":{"rendered":"Writing Secondary Characters Who Stand Out from the Crowd"},"content":{"rendered":"

\"\"<\/a><\/p>\n

By Emily Steadman, Guest Contributor<\/strong><\/p>\n

If somebody were to read my book and tell me she hated my heroine, I would eat my feelings via a tub of ice cream, and then have some serious rewriting<\/strong> to do. Most of us want our main characters to be likable. After all, the audience needs to connect with the heroine (or hero), sympathize with her, and read into the wee hours of the morning to find out what happens.<\/p>\n

However, sometimes I shortchange my secondary characters because I\u2019m focusing on my heroine<\/strong>. My thought process might go, \u201cLet\u2019s see, I need an emotional moment here\u2026 I know! I\u2019ll have the ally pick a fight with her!\u201d Why did he snap at her? Don\u2019t know, don\u2019t care; I got my emotional scene, and my audience probably feels bad for my poor, sweet heroine now; that\u2019s all I need!<\/p>\n

False.<\/p>\n

It\u2019s not that I\u2019m against mean characters in novels; on the contrary, the \u201ceviler\u201d the better, if their actions create meaningful conflict<\/strong>. The problem is characters who are jerks just so we feel sorry for the main character: evil boarding school matrons who starve adorable children for no apparent reason, or bullies who spend every waking moment plotting ways to torment the heroine.<\/p>\n

Not only is it clich\u00e9 when I write like that, it\u2019s unrealistic<\/strong>. It\u2019s like I\u2019m taking a megaphone and screaming in my reader\u2019s ear, \u201cLOOK AT MY HEROINE, DOESN\u2019T SHE HAVE A HORRIBLE LIFE? YOU SHOULD LIKE HER.\u201d<\/p>\n

So how do we create sympathy for the main character without villainizing whoever comes against her? How do we create tension and conflict while treating characters on all sides as three-dimensional people<\/strong> who can be good as well as bad?<\/p>\n

I humbly present three things that have helped me<\/strong> to create complicated secondary characters who aren\u2019t unreasonable just for the sake of butting heads with my heroine.<\/p>\n

1. Show the reader why your secondary characters are acting the way they are.<\/h3>\n

The heroine just had a horrible day at work. Fighting tears, she calls her ally to vent. The ally responds tersely. \u201cWhy are you always whining? Can\u2019t you grow a backbone for once in your life? Get a grip.\u201d Then he hangs up.<\/p>\n

The heroine is left open-mouthed, and the audience thinks, \u201cWow, what a jerk.\u201d They\u2019re right; that was terrible. But as writers, we can\u2019t make people randomly treat the heroine like trash whenever we need a sad scene. The ally loves the heroine; that\u2019s why he\u2019s the ally. He\u2019d never speak that way normally. If we make him do that, something else must be going on.<\/strong> It\u2019s our job as authors to figure out what.<\/p>\n

Maybe he just had a fight with his parents. He and his family have never gotten along, but this time was serious. His dad just threw him out and told him to never come back. Now the ally is slouched in a dingy caf\u00e9 trying to process. He has nowhere to go, but he knows the heroine needs to focus on the villain, and he doesn\u2019t want to worry her. So when she calls him to complain, he\u2019s irritated\u2014her day was nothing compared to his, but he can\u2019t tell her that. He\u2019s also on the brink of crying, and the last thing he wants to do is break down in the middle of a caf\u00e9, especially with the heroine on the phone. So he yells at her, hangs up, and storms out. Later, he sinks down on a park bench, shivering in his thin jacket, and ugly-cries.<\/p>\n

Now the audience knows exactly why he snapped at her.<\/strong> We feel bad for the heroine because she had a bad day that just got worse, but we also sympathize with the ally.<\/p>\n

These scenes are easier to pull off with stories that use multiple points of view. When writing solely from the perspective of the heroine, it\u2019s difficult to show the motivations of people who are rude to her. However, it\u2019s not impossible to hint at sympathetic reasons.<\/strong> The heroine might become suspicious that something\u2019s wrong with the ally. Alternatively, she could drive past the park and spot him slumped on the bench. Her hurt makes her bristle and keep driving, but the reader is now wondering what he\u2019s doing at the park by himself in the cold, and hopefully begins to realize that something deeper is going on<\/strong>.<\/p>\n

However we do it, giving reasons or implied reasons for our characters\u2019 actions is a fantastic way to give them depth. No character is ever a jerk for no reason. The villain is not embezzling money from sweet, elderly grandmothers for the heck of it. There\u2019s a story behind how he became such a twisted person. His problems don\u2019t excuse him for being a jerk, but they help us understand him.<\/p>\n

2. Make sure the heroine isn\u2019t always right in an argument.<\/h3>\n

Sometimes, the heroine\u2019s going to make stupid decisions\u2014not because she\u2019s an idiot, but because she hasn\u2019t eaten in twelve hours or because her beloved dog just died. The allies don\u2019t always have to follow her lead.<\/strong> They shouldn\u2019t be mindless drones who hang on the heroine\u2019s every word; they\u2019re people. If she\u2019s about to make a bad move, even if her motives are understandable, the allies should tell her she\u2019s being ridiculous. The audience can sympathize with the heroine because her dog just died, but agree with the allies when they point out that she shouldn\u2019t charge into the Dark Dungeon of Stabby Booby Traps unarmed. The allies are making things harder on her, but we understand why\u2014they\u2019re doing it out of concern.<\/p>\n

3. Craft dilemmas where there is no \u201cright answer\u201d.<\/strong><\/h3>\n

Mr. S. talks about creating dilemmas that force the hero to make terrible choices. These are great places for our characters to disagree.<\/strong> Sometimes, they have to either save the burning Cute-Orphan-Ville while the villain massacres the heroine\u2019s hometown, or chase the villain and let Cute-Orphan-Ville burn. There\u2019s no right answer there; people will die no matter what. So if the heroine decides to rush off to protect her hometown, it\u2019s likely that one of the allies will say, \u201cUm, hello, we can\u2019t just leave these orphans to die!\u201d Neither one is being evil; their emotions are just sending them different messages.<\/p>\n

Each character in our novels has a backstory and a complicated personality, not just the heroine. They all have motivations, fears, and things they hold dear. These will make each one react differently in a given situation.<\/strong> That doesn\u2019t make anyone\u2019s reaction necessarily \u201cwrong\u201d or \u201cright\u201d\u2014it just makes the characters complicated, emotional people who don\u2019t always agree with each other.<\/p>\n

Our heroines (or heroes) are the main characters of the book. But our villains, allies, and background characters are all the main characters of their own lives. We\u2019re not just telling the story of our heroines. We\u2019re telling all of their stories, weaving each one\u2019s tale into the overall narrative while artfully keeping the story of the heroine at the forefront.<\/strong> We must treat each character\u2014from the most dastardly of villains to the sweetest of allies\u2014with the dignity and complexity they deserve, and not make them irredeemable jerks who are mean just because it works for the scene.<\/p>\n

Once we do that, we\u2019re one step closer to making our novels good.<\/p>\n

…<\/p>\n

Who are some of your favorite secondary characters in literature? What traits make them your favorites?<\/em><\/p>\n

…<\/p>\n

\"\"<\/a>About Emily<\/strong><\/p>\n

Emily is a six-time novelist and has been a student of the One Year Adventure Novel<\/em> program since 2011. She received semi-finalist in the 2013 Student Novel Contest<\/a>, and has been a critique group leader at multiple Summer Workshops<\/a>. Her favorite things include good friends, drawing, and anything to do with writing. A passionate “OYANer,” she loves her writing community and thrives on critiquing and chatting with her fellow students. She is currently in the honors program at her university with an animation major and a film minor.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Emily Steadman, Guest Contributor<\/strong>
\nHow do we create sympathy for the main character without villainizing whoever comes against her? 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