“Mrs. Royston, Emma’s busybody `heart of gold’ landlady, snobbish Mrs. Allen, and Grey’s very surprising mother Lady North are only a few of the plethora of engaging secondary characters that were sprinkled throughout as well as noteworthy in adding a great deal of substance to this very entertaining story.” – Marilyn Rondeau, review of Her One and Only, the second of the Prospect Series.
I’m glad Ms Rondeau enjoyed the secondary characters in my book. I’ve always enjoyed writing them and find it easy to create these “colourful” personalities. In fact, I don’t really create them. They just come on the scene complete in themselves. I wish I understood the alchemy that produces them. I wish my main characters would appear as effortlessly!
The town of Prospect is peopled with all kinds, from oddballs to pillars of the community , but I’ve developed only a few of them. Just as too many cooks spoil the broth, I believe too many characters spoil the story. My current reading includes such a huge cast their introduction takes up the first sixty pages of the book—yet nothing about the plot is to be found in those pages. I’m confused as to who is who and why I should care. The book is part of a long series, so I suppose the author thinks she needs to bring new readers up to speed on everyone from the previous books, but it gets tedious. In my case, I’ve used four or five characters to provide a flavour of the time and place and not burdened the reader with a long list of who’s who.
Secondary characters have a specific role in the story, like mentor, busybody, joker, side-kick, but they should never be caricatures. My Mrs. Barclay, for example, is a “butinsky”, but she is also kind. She manages her husband but is quick to obey when he puts his foot down. I use her voluble nature to deliver necessary information to the reader, but in an entertaining way. Mrs. Barclay is never one to sermonize. She has a stern sense of what is right, yet compassion may overcome her principles. Altogether she is a complex and memorable character – and she grew organically as the stories of Prospect unfolded.
When it comes to my main characters, the process is not so easy. I create character charts, do character interviews, work up a goal-motivation-conflict graph, poke away in their backstory, search for their dreams and fears. and secrets. The process is hard work and I’m never as satisfied with the final version as I am with the secondary character who just walks on-stage. Why? If Mrs. Barclay can come rollicking into the story and make us laugh, why does Emma take so much careful planning?
I think the answer lies in that last sentence. By the time Mrs. Barclay—or any other secondary character—shows up, the story is already unfolding. These bit roles flesh out the time and place, amplify the main characters and maybe provide a bit of comic relief from the intense emotions of the love story. The hero/heroine have to start the story, have to overcome inertia to get the wheels rolling. Their goals are what propels the plot. Their dreams are what makes the reader care. Their conflict, internal and external, details the theme of the book. If I want to make the reader agree that ‘love conquers all’ I show that through the h/h. They are the driving force. The secondary characters are just along for the ride.
That said, I love my bit players. I can let them be outrageous and not worry if the reader will dislike them. I can make them timid without worrying that timidity is not an heroic characteristic. I can make them truly annoying and be happy if the reader dislikes them. I think I like my secondary characters because they let me play. H/h, whatever their personalities, require that the author obey the expectations of the genre.
Look for more of Mrs. Barclay in the upcoming novella, A Chance for Love. Oh yes, there’s a new character in Prospect, a mule named Bartholemew.
Over to you. What are your thoughts on secondary characters?