Showing posts with label supporting characters. Show all posts
Showing posts with label supporting characters. Show all posts

Friday, August 19, 2011

Secondary Characters


A few months ago, I was catching a flight to New York that left at six a.m. As we were readying to board, we were told the plane had been delayed an hour. You can imagine how that pleased me, after getting up to drive to the airport at 4 a.m.
I later found out the flight delay was caused by one of the passengers, who had suffered an epileptic seizure while boarding. A shame, and certainly, I felt badly. A simple hour of waiting suddenly seemed so flimsy an excuse for being upset.

When I finally sat down, a sleepy looking surfer dude (maybe that’s repetitive?) sat next to me. At this point I was also feeling sleepy and ready to get the six-hour flight underway but, as fate would have it, we struck up a conversation. 


Over delicious airplane coffee, I came to find out he was the young man who had suffered the seizure. He looked sleepy because he’d just taken anti-seizure medication and had a roaring headache. I learned that he surfs regardless of the danger inherent in being epileptic because he loves it too much to stop. At this point, I was feeling very much in awe, and very guilty of 1) being an impatient, small-minded fool and 2) making stupid assumptions about people. This young man was far more than a hang loose surfer kid. He had a passion. A need. A flaw. A strength. A weakness. I learned all of this over one of those tiny Styrofoam cups of coffee.


Point of that story is this: We are all more interesting beneath the surface. People make fascinating choices. They deal with incredible obstacles. They are impatient and small-minded, as I was that day (fine, more than just that day), and fearless and optimistic, like surfer dude. Everyone has a story. Everyone is interesting. All you have to do is ask. Somehow, I forget that in real life. I forget that about secondary characters, too.

If I’m not connecting with a secondary character, then I know it means I don’t know them well enough. Once I discover what makes them tick—then it’s like Jodi said in her post yesterday, your protagonist plays off them and vice versa. And the world of your novel gets bigger and more colorful.

Here’s a fabulous quote from agent and writing guru Donald Maass:
Every protagonist needs a torturous need, a consuming fear, an aching regret, a visible dream, a passionate longing, an inescapable ambition, an exquisite lust, an inner lack, a fatal weakness, an unavoidable obligation, an iron instinct, an irresistible plan, a noble ideal, an undying hope… whatever it is that in the end propels him beyond the boundaries that confine the rest of us and brings about fulfilling change.

Yessss. Right? But don’t limit a torturous need, or an exquisite lust to simply your protagonist. Sit down and fasten your seat belt. Get yourself some coffee and ask the secondary character sitting beside you a few questions. I guarantee you’ll be surprised.

Thursday, August 18, 2011

Supporting characters, uh, support?

Secondary characters give primary characters life.

When we're writing, it's easy to focus on the main characters. I don't know about the rest of you, but it's usually the main characters who inspire me to write the book in the first place. I get attached to their story and want need to tell it. I could follow the characters around for chapters not caring about anything else.

Except there's, you know, that whole story thing. And story typically involves a few more characters.

The truth is, it's hard to see who the main character is when we've got her by herself. But when you let her interact with other characters, we begin to see the way she changes (or doesn't change) to fit with them. And maybe we know she's going to behave one way with the love interest because she's got the hots for him, but we see more sides of her when there are supporting characters around. Not just the side she wants to present to the love interest.

They give the worldbuilding depth and the story scope. Secondary characters do jobs in the world, like run businesses or teach the main character an invaluable skill. They keep the world from toppling over. It's hard to believe an entire complex society might exist if there are only two or three people in it.

And their stories influence -- and are influenced by -- the plot the main character is dealing with. Secondary characters can get in the way of a car chase, or help out. Their minor crisis at home might escalate and cause them to do something crazy in the main character's path, causing the main character to deal with the fallout from that.

There are lots of opportunities for secondary characters to shine. It's easy to overlook them, especially when we're writing and not quite as in love with them as we are other characters. But take a moment to think about your secondary characters. What can they do today? How can they help or hinder your main character? There's a lot of untapped value there.

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Jodi Meadows is the author of INCARNATE, book one of the Newsoul Trilogy. (January 31, 2012 - HarperCollins/Katherine Tegen Books.)

She lives and writes in the Shenandoah Valley, Virginia, with her husband, a Kippy*, and an alarming number of ferrets. She is a confessed book addict, and has wanted to be a writer ever since she decided against becoming an astronaut. You can find her on her website and blog.

*A Kippy is a cat.

Wednesday, August 17, 2011

The Pesky Parent Problem

Why are the pages of children’s literature filled with dead parents? The traditional answer is that heroes need room to explore and make mistakes on their own without pesky parental units interfering.  How is your teen slayer going to kill demons that only come out at night if she has a doting mother and father that expect her home by her curfew of 9 pm?

Parental figures can also be thinly veiled extensions of the author.  I have a friend who was advised to kill of her mother character because the mother acted like her.  Talk about killing your darlings!

But do you always have to kill off your main characters parents if you want your hero to have the freedom to grow?

There are alternatives.

1. Make your parents neglectful or disinterested.

In SHIVER by Maggie Stiefvater, Grace’s parents let Grace do whatever she wants.  They are so permissive and uninvolved in Grace’s life, they don’t even notice that her boyfriend is sleeping over.  Every night.

2. Make your parents the antagonist.

In THE RISE OF RENEGADE X by Chelsea M. Campbell, supervillain Damien finds out his father is a superhero.

3. Make your parents an integral part of your hero’s journey.

In PLEASE IGNORE VERA DIETZ by A.S. King, Ken Dietz helps Vera come to terms with the death of her friend Charlie while she helps him get over the loss of her mother.

4. Kill off your hero.

Parents don’t have to be a problem in the afterlife.

Guess which alternative I picked in writing LEVEL TWO?

It was a little of number 4 mixed with a little of number 2 and 3.  My main character has a very close relationship with her father and one of my favorite scenes is a father/daughter trip.  My editor agreed and actually wanted me to put in MORE of the father.  I was pleasantly surprised - but it fact - it does work for my story.

What are some of your tactics for dealing with parents in your stories? Who are some of your favorite parents in children’s literature?

Lenore Appelhans is the author of LEVEL TWO (Simon & Schuster BFYR/Fall 2012), a dystopian afterlife thriller.  Visit her blog and/or follow her on twitter.

Tuesday, August 16, 2011

This post brought to you in...3D!


Okay, not really. But it isn't my fault you didn't pay the extra $1 for the glasses. ;)

A lot of factors go into making a story three-dimensional. The reader needs to be able to feel like they're THERE, living the trauma, love, rejection, romance along with the characters. And what makes a story feel like something you might actually experience better than some annoying person who won't get out of your character's face?

(Long Duk Dong from Sixteen Candles)

This is something I've been working on in my second round of revising this month. Bringing supporting characters to life, giving them their own interests and motivations--without letting them take over the story (because let's face it, every supporting character wants to be the star). And actually, in books like Libba Bray's BEAUTY QUEENS, many supporting characters acting almost as one group main character does work.

On the other hand, IF I STAY by Gayle Forman is centered very much around one character, but Mia's story is told in large part by the memories she has of everyone who loved her (Spoiler Alert: she dies at the beginning of the novel). Mia is the narrator of the story, but her mother, father, little brother, and boyfriend, Adam, are the ones who make her truly come alive on the page.


What are some stories you feel are make-or-break based on their characters?


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Emily Hainsworth is the author of THROUGH TO YOU, (Fall 2012 Balzer+Bray/HarperCollins), a sci-fi novel about a boy grieving for his dead girlfriend until he discovers she's still alive in a parallel reality--one where he's the one who died. For more information, visit her website.