Workshop Wednesday: Characterization Part II

Workshop Wednesday: Characterization Part II

Secondary Characters:

Anyone who's read any of my books will tell you that I like to write secondary characters. Usually a lot of them. Part of this is because I prefer to write book series versus standalones, and secondary characters are necessary in that instance; but also because the growth of a primary character is expedited or hampered by his relationships with others - those "others" are your secondary characters.

I generally find secondary characters fascinating, and I think it's because they're on the fringes of a story, and therefore still mysterious. There's the potential for discovery there, and learning more about them. Because I think mystery is a large part of their appeal, when I start a book or series, I leave the secondary characters' backgrounds fairly open-ended. I decide a few things about them, and then allow the rest to reveal itself to me as they interact with the main character(s). 

But that's the thing - there IS a reveal. They DO have histories, fears, wants and dreams of their own, and aren't simply there to prop up the hero or heroine. For me, it's important, as a writer, to see them as individuals and not just supporting players; to think of them as having their own stories down the line, even if I never wind up getting to them (because some secondary characters end up being more interesting than others). It's important for the main character to care about them, truly engage them in conversation, and for the secondary characters to have unique opinions on the issues at hand. 

In real life we walk in our own familiar shoes, but as a writer, we, like actors in a stage play, are changing costumes behind the curtains and throwing ourselves into a dozen different roles. It requires a great deal of empathy -  elsewise you'll write the kind of book in which the characters are all clones, distinguishable only by name and a few superficial details. 

Juggling:

The problem with a big cast of POV characters is that you then have a lot of competing voices in your head. It can get stressful. It's why, unless it comes naturally and easily, I wouldn't recommend a writer tackle a large cast of characters on their first attempt. Fiction writing is an exercise in detaching yourself from the imaginary folks in your head, and learning how to let characters speak through you; the more characters, the more overwhelming the process can seem. 

If you're juggling a cast with multiple narrators, here are some things to keep in mind:

- Make sure each new POV introduced has something unique and valuable to add to the narrative. A different perspective, a view of an event that no one else can see or hear, some insight for the audience that will help put everything else into context. If you shift POV, make sure it's for a reason, and that it's enhancing the plot, rather than rehashing what someone else has already said. 

- Make sure each character has his or her own voice. This doesn't mean the style of your writing needs to change, in fact, it shouldn't; but the thoughts themselves need to fit logically with that character. For example: seven different characters wouldn't use the exact same terms to describe the same instance. 

- In the interest of reality, keep the dialogue simple and person-appropriate. A biker isn't going to wax poetic for long paragraphs, and a titled English gentleman isn't going to say "ain't." 

Next week, I'll talk about my personal approach to writing characters in a romantic relationship, and how to avoid the pitfalls of character clichés.