Secondary Characters

It is hard to classify Secondary Characters - definitions range from sidekicks to the nameless shop assistant who nodded at your hero. The secondary characters used in this article are those that are at times integral to the plot but not one of the main characters. Example are Ethan, Danielle, etc (Lost), Tara (Buffy the Vampire Slayer), Fred and George (Harry Potter) or Trumpkin (Prince Caspian). These guys all have an impact on the plot but their history and actions aren't as detailed.

Fantasy writers tend to use secondary characters to dig them out of holes they’ve wrote themselves into. Most often these are the guys who appear out of the blue to save the protagonist (they were just around) then hang about to poetically describe the hero's dashing good looks or the heroine's silky locks. After they've doted on the heroine enough or spent the last two chapters listening to the hero’s angst, the writer sends them away... only to come back in the nick of time when the hero's party is about to be devoured by a hungry ogre. These guys aren't characters but plot devices to get the writer out of a mess without having to put too much thought into it. The lives of secondary character revolve around the protagonist so much they're pretty much good hearted stalkers.

So how do you stop the reader rolling his eyes every time the secondary character happens to find the hero stuck in a tree? Erm... give them a life. Shocking, isn't it? Actually the real shocking part is when I break with tradition and tell you not to go overboard on the history, family, personality, blah blah blah. So, ignoring all the advice I've given in previous articles, here is where you get to skim a bit off the top.

The reader doesn't need to know Sally Card once had a pet turtle that ran away or bites her lip when nervous. They don't need to know Simon Carter is allergic to butter or had a fight with his brother twelve years ago. What they do need to know is why she would happen to have the Sword of Ouchy on her when the hero needs it most. And why does he have the only key to the prison that the heroine happens to be locked in?

What you need to focus on is what Sally is currently up to. If you want her to drop by after her last appearance was in a town 300 miles away then you need a reason. Maybe she's researching ancient weapons which led her to the sword. Perhaps she's travelling to an expert in weapons to deliver the sword when she learns of the hero's trouble. Whatever the reason, it needs to be mentioned when Sally is introduced and subtly too if you want the reader to be surprised but not put out when she appears. Have her mention she's taking archaeological findings north to have them assessed by an expert. Then, when the hero finds himself north in need of the Sword of Ouchy, Sally is able to help him out. The earlier Sally’s journey north is mentioned the less is comes off as contrived. Also, don't just throw her away afterwards; give her character some conclusion. A quick meeting showing her findings are leading to new discoveries of the past and subsequent excitement is all needed.

Of course, the greater a character's involvement in the plot, the more development and resolution they need. If Simon Carter frequently drops in and out of the story, he's going to need more characterisation than Sally. Though not falling under sidekick, Simon could still be involved with the heroine's quest. Perhaps he could support her desire to overthrow the villain and be willing to go help her goal. He could pay off the guard for his key when he learns of her capture. And later, when the heroine needs someone to provide a distraction for the villain, she would know who to turn to.

Unlike minor characters that fulfil only one purpose, secondary characters need some development. For Sally the reader would only need to know of her interest in archaeology and history and her plan to head north to meet the expert. A connection to the hero is also ideal; an old from his hometown or a mutual interest in archaeology could be enough to connect the two. Here she has motivation; her interests, a past; childhood friend of hero, and her want; to learn about her discoveries. For Sally that would be enough.

Simon, on the other hand, requires more information. How is he involved with the heroine? Why does he want to overthrow the villain? How did he learn of the heroine's capture? How could he afford to pay off the guard? Simon needs a past that shows how he came to his present without four chapters delving into that painful time a bully stole his toy when he was six. A simple conversation or paragraph is enough. Showing Simon's fancy clothes or his payment to the heroine for protection across the wilderness shows his money. His comment of looking forward to returning to his gossiping wife could be how he learns the heroine has been captured. And a mention of his anger at the villain having killed his son will be enough for reasons of vengeance. Here we have past, motivations, wants, family, present and his connection to the heroine.

Secondary characters need lives apart from the protagonist but which provide reasonable answers to why they are willing and able to save the hero in a crisis. These reasons should be provided early on to avoid a deus ex machina situation but not too late so they are forgotten (not easy I know). And, the more space a secondary character takes up, the more characterisation is needed. Finally, secondary characters should have some form of resolution.

I hope this helped.

Next Chapter: Minor Characters