Writing Essentials: Characters Part Five: Side Characters

Disclaimer: I'm not an expert on writing. I am not a published author, don't have any sort of English or writing degree, have never taught English or writing and, in fact, do something entirely different for a living. I am simply stating my opinion and caution any reader to assume that every statement described as if it were incontrovertible be assumed to include an "in my opinion" on it. This series is my own opinion as an aspiring writer to describe things I work to do in my own writing and what I look for when I read.

I love secondary characters. L-O-V-E them. I love them so much that 2/3 of my fairly completed novels are effectively ensemble pieces. Sure, I have "main" characters, but the interaction of the other characters are so integral to the whole that it's not about 1-2 people; it's about the team.

One reason I love them is that there are virtually no limits on the type and scope of side character you can include, from the relatively dastardly, to the absurd, to the profound, to the inane, to the... You want to play with a particular character but aren't sure how to center the story around them - make 'em a side character. They can be funny, silly, officious, curious, troublesome, protective, loyal, creative, clever, nitpicky. They can epitomize a group of people (stereotype) and make them come alive. They can personify key aspects of a time, place or social structure. They can do nothing more profound than make the story more entertaining - nothing wrong with that.

Side characters can add texture and flavor to an otherwise humdrum story or breathe life into a time and place without being a distraction. They are an excellent opportunity for exposition without making it seem contrived - Watson provided an opportunity for Holmes to elucidate his mental processes without awkwardness, for example. They can provide insight into the main characters just by their reactions/loyalty/disaffection for the main characters. Somewhat haughty and officious who treats your protagonist like a wayward child can let you know your main character isn't as concerned with "right and proper" as the side character before he's said a word. The dedication and loyalty of a capable and intelligent side character can provide insight that a bristly or grumpy main character has hidden depths worthy of merit long before they are otherwise visible.

Side characters can be foils for main characters or reinforcement for their character traits. They afford the writer an opportunity to reveal key aspects about a character by interacting with him or her. See, it's not enough that a character "be" in the writer's mind - the writer needs a way to demonstrate that character. The writer can just "say" what the character is supposed to be, but, let's face it, that's rarely as compelling as demonstrating those characteristics through word and deed. Interaction with side characters can bring those qualities front and center, can reveal warmth or softness or cleverness or other aspects of a character that wouldn't shine through without them. A side character of the less savory type can give your main character a chance to be witty, sarcastic or just argue better.

And they're fun. I frequently have fairly serious characters. Side characters are often what adds the humor and bring out the charm of my main characters.

They can also help the plot develop, provide traits and skills the hero (who shouldn't be perfect) might be lacking, provide a contrast and, if doing a series of novels, can be the focus of a later book. They can add depth to the story, providing history or color or humanity to a time that might seem short on it.

In movies, there's a whole host of "character actors" who have made a career about playing the people around the lead. Time and again, these are the most versatile actors out there and their characters are far more diverse than those lead actors play.

A fairly common characteristic among my favorite authors are books where the side characters are so charming, I frequently stop to giggle and say, "I love Beautiful" or "I love Edger" or the like. And, that's what I want people to do when they read my work.

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Characters I Don't Like

I’ve spent a great deal of time telling you all about the characters I love. But, what kind of characters do I hate? What kind of protagonists (because, of course, one shouldn’t be too sympathetic for the antagonists) don’t appeal to me?

Before I go into the characters I hate, let me point out that many “characters” I read or see on screen don’t work for me not because I really like them or not but because they don’t make sense. Often they are contradictory, which exist in reality, but becomes irksome if the author has gone to the trouble to describe/establish a characteristic that senselessly is negated elsewhere. It’s hard to swallow that someone is empathetic or kind when they perform acts of random cruelty for no apparent reason. It’s hard to accept that someone is desperately intelligent if they never do anything wise, logical or even thoughtful. Just as bad are the characters, often described as having certain characteristics, but limp and lifeless in word and deed.

Building a good character is more than knowing what you want the character to be, it’s building dialog that fits that character, even reveals that character (which is much better than the “narrator” telling the reader what to think, it’s making their actions simpatico with that character, even if it might not immediately make sense. I tell my husband, and sometimes he tell me, the reader might not know why my character did X, but I sure as heck should and it better makes sense with regards to that character.

However, one can draw a character masterfully and still have it be a character I despise. Some, of course, are obvious. Some, like rapists, you’d think would be obviously not protagonist material and yet they frequently are. Here are some examples:

Rapists: If you’ve read my blog before, this should be no surprise. Although I can think of any number of good reasons to kill someone, I have never heard an argument to justify rape that I’ve bought. Ever. I don’t care if she really loves you but was scared and needed force to be pushed over, if you were driven mad with desire and/or Hyde potion, whatever. A protagonist that rapes someone else is not a protagonist and I will (and have) shut the book. Unlike almost everything else on this list, once is enough, is irredeemable to me.

True Sadists: Good people can do bad things. They can deliberately cause pain because of immeasurable stress (torture their daughter’s rapist, for instance), maim, kill, whatever, if they are pushed too far. I can have characters do things I think are wrong and still forgive them (with some limits). However, people who take pleasure in hurting others, who go out of their way to cause death and destruction, they aren't people I’m going to enjoy spending time with.

Senseless Killers: As I said, there are many types of people who might kill that I can respect, like soldiers or police or even the right kind of vigilante. I can forgive a gentle soul who killed at the end of his or her rope. It does make a difference who you kill and why. But, if a character does it without cause (or a cause I can buy), for fun, or for his own convenience, thoughtlessly, again this isn't a character I'm going to enjoy. I'm pretty tolerant of violence (in fiction), but senseless violence doesn't do anything for me.

Damsel in Distress: Surely we’ve grown up enough that the old time Faye Wray character who’s main line is “Aaaaaaaaaaaaaagh!” and won’t lift a finger to save herself should sit wrong with us. Admittedly, many people, in a crisis, sit still and wait to be rescued, but why would I have the slightest interest in knowing them better? Since she has no role but to shriek artistically on the train tracks or facing the old saw blade while waiting for her hero to show up (and to bat her eyelashes when she does), she is of zero interest to me. It should be noticed, however, that one needn’t beat up the kidnapper or bad guy to get my interest. Organizing, calming hostages, for instances, is something useful, or providing first aid in a siege situation – both of those work for me. Anything that says, “I’m not just giving up.” Kicking the kidnapper (or other villain’s) butt, however, can work for me, too.

The Doormat: Characters that are repeatedly stepped on who put up with it (for no apparent reason) – there is a difference between someone being used as a puppet because his daughter has been kidnapped and someone who lets her boyfriend slap her around every night, but bails him out when the cops pull him over for DUI. I know people exist who have no interest in saving themselves, but they are not the kind of protagonists I care to follow.

The Sheep: Quiet, perhaps unhappy or dissatisfied person who goes along with an ugly situation because they feel helpless to protest. A character isn’t automatically Joseph Mengele just because he pretends Auschwitz isn’t just over the hill, but he’s unlikely to be a character I want to know more about. Whether this character is dragged along by mob mentality, refuses to do the right thing out of fear, or let’s apathy rule his actions, I find these characters distasteful and am unlikely to follow them.

The Truly Selfish: Everyone has some selfishness in them and it’s perfectly reasonable to have that be part of a character. However, if a character is never able to look past their own (and only their own) interests, they will not engage mine. Unrelenting self-interest, whether it translates to not putting himself out to save others or active self-promotion, is not appealing for me. Rampant greed or avarice with no regard (ever) for anyone else gets old quick and the only way this character can work for me is that they learn it (soon enough I don’t give up on them).

Motivated by Hate: You may think this is just a way to say some of the early characters, but it's more than that. Whether one's hate leads to violence or whether it just dominates every aspect of a person's life, it's not appealing for me. I don't see how one can steep oneself in hatred all the time without becoming a monster, letting it leech away your life and your happiness. I know terrible things can happen and know people are entitled to hatred when they've been misused. I'm sympathetic when a character has what matters most destroyed and gets all interested in vengeance - to a point. Past that point, they've lost all their love stood for. There is beauty out there. Find it.

Bigot: In this case, I define bigot by this. If someone is more worried about "what" you are than "who" you are, she's a bigot. I don't like them and prefer not to have one as my protagonist. I can forgive a character who started out that way but grew, but it's best if it's a side character.

Down-to-the-core Stupid People: I have to deal with stupidity every day just like everyone else. I can't speak for anyone else, but my life's too busy to waste it reading or watching stupid people. Seriously.

I could go on, but I bet you get the picture. What do you know, Lord Byron *fits* here.

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My Favorite Characters 8: Flamboyant and Kind

Another traditionally female role, and frequently a side rather than main character, this is the flamboyant, frequently popular, loud, embarrassing, beautiful “friend” of a main character. This character is generally emotive, extroverted, popular, over-the-top, colorful even silly. The character squeals, groans, and overplays (depending on gender and the setting of the story) responding to happy events with the glee of a toddler and to misfortunate with the sympathy of Florence Nightingale or the optimism of Pollyanna.

If this character is beaten down, the despair is never of long duration. If this character’s friend is overly serious and introverted, this is the friend that drags him or her out into the light of day. This is the individual that shows the humanity of a stoic character or brings out the humanity in a diamond in the rough.

Mavis, the friend of Eve Dallas, is an excellent example, but she’s been around a long time. Up until the last century, male versions were fops or playboys or other variations and, admittedly, these characters are often sexually liberated and promiscuous, like John Candy’s character in Splash. They are brash and impossible to embarrass or subdue. Once in a while, one with a lighter hand will get to star (like Captain Kirk of the original Star Trek series), and, as is often the case, the character brings out the extremes in reaction – love or hatred. In more recent years, as homosexuality has become more accepted, there have been more male characters playing the homosexual drama queen (which makes it seem almost stereotypical), but the type has been around much longer than that. And male versions have been around longer than that and existed in reality (like Lord Byron).

What makes these characters appealing to me is that these characters are portrayed routinely a strong streak of real decency that allows them to befriend characters that otherwise might be overlooked or ignored or to refuse (even when under pressure) to follow the crowd in hurting others until one realizes that they are popular not because of their flamboyance but because of their core of unshakable human decency and kindness. Like the deceptively sweet, when pressured, they are just as tough and just as devoted as the stoic, even if their attitudes and characteristics might tempt you to dismiss them as silly or worthless. You also find out that the silliness hides a sharp and capable mind. The act is part of their charm, part of their personality, but it’s not the extent of either one.

And this kind of brings me full circle because the first character I mentioned (My Favorite Characters 1: Stupid but Pure), Tamaki Suoh, fits in this character, too.

I have so much to work with. I just love it.

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My Favorite Characters Part 6: Hard Ass

I am a straightforward person. I don't brood or bitch behind people's backs. If I have a problem, I'll tell you straight out. I don't try to hurt anyone's feelings, but better that than lying to them.

Given that, it should be no surprise that one of my favorite characters is the "hard ass". Now, there are a lot of similarities between the hard ass and the diamond in the rough and some might not be able to tell them apart. But, whereas the diamond in the rough is general a sweetheart who talks tough, often because he never learned any better, the hard ass is pretty much just what you see. Sometimes old, sometimes young, no pulling punches or pussyfooting around the truth. They are often an expert in something and don't suffer fools worth a damn.

They tend to not to be terribly sensitive, not because they haven't known pain or trauma, but because they've chosen not to be owned by it. People hate 'em or love 'em. They are the consummate professionals, no ambition, just want to do a good job and, as long as you're not obstructing them (and can stand to hear the truth), you'll get along fine. If you have something to hide, are incompetent or oversensitive, you won't get along at all.

Traditionally, these have, again, been male characters, but I have to admit, I have a soft for females in this mold because it's a damn fine description of me. So, many of the most abrasive females out there are favorites of mine and, yes, I've written quite a few, including the title character in Curse of the Jenri. V.I Warshawski, Eve Dallas...yep, they're favorites.

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My Favorite Characters Part 5: Diamond in the Rough

Another oldie but goodie, who doesn't love the character who talks tough, acts rough, but is true blue inside? Gruff, apparently unfriendly, often physical and prone to violence, they tend to be uneducated, raised on some sort of street, or are the product of a traumatic upbringing. And yet, with patience, other characters (and the reader/watcher as well) get to learn that they are good people, true people inside. The examples abound on this one from Han Solo to Wolverine and, of course, it's not limited to men, though male versions of this character are more prevalent - but Eve Dallas is one of many female incarnations. There are the crusty scary old people who turned out to be sweet and the dork you let tag along because you had not choice who turned out to be a hero. I have a few of these myself.

It occurs to me that many of my favorite characters, when I describe them come across as charicatures. But I don't think that's why I like them. I think one reason I like them in my fiction and like to write them is because they are rarely a pure form of any character, but a mixture of different aspects of these different characters to make a unique whole.

The other reason why I think these (and other characters) work is because they really exist in real life. Who doesn't know someone who, at first meeting, seemed one way and then turned out to be someone you treasured in hindsight. I think this is why so many of these characters just never fall out of style because you "meet" them in fiction and they bring back memories of people you knew or people you always dreamed you'd meet.

I love a good character. Makes me want to write some more. And I'm not even done with my list of favorites.

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My Favorite Characters Part 4: Stoic Type

Oh, you thought I was done? No such luck. Turns out I have MANY favorite characters. Now, although many of incarnations of MFC 1-3 tend to be "heroes" or male characters, the stoic type can be either gender. I can think of half a dozen favorite novel characters like this (such as Val Con Yos'Phelium and Jela--as well as Jela's tree--from the Liaden series - although it was applicable to many of the Liaden characters), heroines and heroes from Georgette Heyer novels, my heroine (Layla) from Curse of the Jenri, and my hero, Xander from Beast Within. Even Horton hatching his egg fits. Actually, you can make an argument that Edward from the Twilight series is more a stoic than a cool and cutting. In the movies, they're everywhere. Van Helsing, McConnell from the Mummy series, Spok...I literally could be here forever.

Clearly, I'm not alone in finding this kind of quiet, patient individual appealing. Being quiet isn't enough, though, for him/her to be a favorite. They must be smart enough and knowledgeable enough to understand the trials they choose to face or their stoicism doesn't have the same cache. Often a side character (though I've noted many who aren't), they are often the right hand man/woman to a charismatic or volatile main character. Sometimes straight men, sometimes the characters that take the "dreams" of the main character and make them reality (as it were in fiction), they are completely dependable and 100% trustworthy.

In many ways, they are like the MFC#1 (stupid but pure) only minus the potential for stupid. Whereas you may not be sure if MFC#1 really knows what they're getting into, with the stoic, you know they understand the risks, the implecations, the challenges and even the pain and choose to do so anyway.

They are devoted, selfless, not overtly passionate but quietly and implacably so nonetheless. Ironically, they are also usually very logical, organized, and practical, often, again, in contrast with those around them. They are not swayed by dogma or beliefs as a general rule, but either led by people they admire absolutely or stoic because they are intactable when it comes to "what's right."

Do I love 'em? You bet. I'm not sure but I think everyone does.

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So, What Kind of Protagonists Do I Write?

I told you all I liked imperfect characters (and noted that I'm not alone feeling that way), so it seems reasonable to ask me to put my money where my mouth is and find out what I do when I'm writing my characters.

Ah. Well, when it comes to protagonists (not the bad guys) there are two different types. There are the main characters, and there are often a small group of them. Depending on the scope of the project, some might not be equally prominent or even key players in each book. One thing about all "my" main characters: they begin with me.

Why me? Well, because I'm complex and because I know me like most people don't. None of them are me, though. Usually, I take one or two of my features, put it in someone and add some complementary aspects I don't have. I try to make it something I like about myself coupled with something that's less appealing. Like Layla who is terribly efficient and capable, but is also abrasive and caustic. Or Tander, who has a wonderful sense of humor, but is also a bit cavalier when it comes to responsibility. Then, it's just a matter of putting them in the right environment. Other characters have other traits of mine and other marked differences. It's like being a multiple personality, like playing what if not only as myself but as I might have been if I were, say, athletic or magical or could change shape, or had been spoiled as a child or... The list goes on.

However, there are rules for my "main" characters. First of all, there are no rapists among my protagonists (even the small characters). Never. My characters are always basically honest because it's a character trait I cherish. My characters are rarely popular because I know nothing about that (though they are, at times, respected for their abilities). And smart. It's not in me to make a stupid main character. I mean, I could make one, but I'd keep rolling my eyes.

With side characters, though, I'm often looking for good ensemble characters, people who remind me of people I know. I usually work them for teamwork and humor, but I also have capturing some aspect of someone I really enjoyed. However, unlike my main characters, these characters don't have to honest or smart, they can be popular or ignorant or even teenagery.

Sometimes a side character grows into a main character. Once in a while, my husband inspires a character, sometimes a main character, sometimes a side, and his characters also don't necessarily fit my honest/smart mode.

The big thing, and I try to make this true of all my characters, is to leave them room to grow. A stagnant character, like a perfect one, soon becomes a dead bore - not just for a reader, but for me.

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