This month we are looking at how important Character Arc is to our stories and how it ties into the plot or story arc, and do you usually give some time and story to character arcs for secondary characters?
A story without a good
character or story arc is like a straight piece of string. Boring.
Uninteresting. Then tie a few knots in it here and there, and it becomes a
different beast. Why is the knot in that place rather than in this
place? Why is that knot bigger than the others? Does its size mean something
important in the plot or an ‘aha’ moment for the character? And what does that
squiggly little knot between two bigger ones indicate? Could it be a red
herring slipped in there to catch the unwary?
The plot arc is the story’s
shape, while characters have internal and external arcs that can create
conflict. At the beginning of the narrative, Character A may be lacking in
confidence. He or she thinks they are useless, unlovable, and ordinary. Then
events test them as the story progresses, and we see that character overcome
their ‘negative press,’ the false image they have of themselves, and by the end,
they see they are useful, lovable, and extraordinary.
Secondary characters in
a story are there to bring out the best in or give support to Character A, which
doesn’t mean that they are less critical. They still need a good backstory, and
the author needs to make them as well-rounded as Character A and not a
caricature. They need names, strengths, and weaknesses, the same as Character A.
While we might lay out every aspect and nuance of Character A for our reader to
get to know and understand him or her, we don’t need to see that for the
secondary character, even though the author will know it. Secondary characters
are great for discovering facts, as Lord Clifton instructs his secretary Edward
Pargetter in my book His Dark Enchantress.
Lucius tapped his forefinger against his
lips, his eyes narrowing as a scheme began to form in his mind.
“That could be most fortuitous, as long as
the under-secretary is not one James Horace.”
“If you wish, I could make enquiries as to
whom exactly my cousin is attached.”
“I do wish, Edward, and it must be done as
discreetly as possible. I also wish you to discover who else Lady Darnley has
invited to dinner. Now, will I be signing my life away if I do not read these
damnable letters?”
“You’ll never be sure, Sir.” Edward handed
him a freshly trimmed pen.
Because Edward has been employed by his lordship for
some time, they have developed respect and liking for each other, as indicated
by Edward’s quip. In the same book, Lord Clifton relies on his head groom, Mr.
Noble, and coachman, Mr. Tockington.
“We’ll do the same as in Folkestone.” Determination
made his voice grim. “Noble, I want you and Tocky to make enquiries at the Full
Moon and the Flood Tide. Edward, find the White Horse and hire a horse for me
and a carriage for you three and our equipment. I’ll ask the landlord here for
the quickest route to Lille.”
Edward was the first to return and he and
Lucius waited impatiently for Noble and Tocky.
“Perhaps they are unable to make
themselves understood,” suggested Edward.
Lucius shook his head. “I doubt it. Noble
speaks passable French and Tocky appears to be able to make himself understood
anywhere. Plus, with coin available to pay for a round or two of drinks, they
may be gleaning more information than we expect.”
Secondary characters will have a different perspective
on Character A, understand and maybe appreciate their likes and dislikes. They
can help the reader build up their image of the main protagonist, like peeling
an onion in reverse. They might be more like the person on the street, someone the
reader can easily relate to, rather than a lord of the realm, hot-shot sports
hero, billionaire, or whoever your Character A might be.
Now, visit my fellow bloggers and see what they say on
the subject.
Anne
Stenhouse http://annestenhousenovelist.wordpress.com
Connie
Vines http://mizging.blogspot.com/
Diane
Bator http://dbator.blogspot.ca/
Helena
Fairfax http://www.helenafairfax.com/blog
Marci
Baun http://www.marcibaun.com/blog/
A.J.
Maguire http://ajmaguire.wordpress.com/
Skye
Taylor http://www.skye-writer.com/blogging_by_the_sea
Definitely a good secondary character is a great help to the primary character. Having that secondary character as a "caricature" as you say, only makes the primary character look bad. Could you imagine a weak, boring Watson as Sherlock Holmes' side kick? Well done!
ReplyDeleteTotally agree on the depth of a secondary character - paper dolls only works for little girls. In the end, the whole of the backstory for a secondary character might not appear in the story, as you point out, but if the author doesn't know it, how do they know how that character will respond or act? Things don't happen out of nothing, there is always a reason, or a driving force. Our secondary characters need just as much depth as the main characters to become real.
ReplyDeleteThat's an interesting point about the secondary characters. I hate it when a secondary character is just there to talk to the heroine about the heroine. The best secondary characters are the foil for the main character but have a life of their own.
ReplyDeleteI enjoyed our topic this month. Thanks for the interesting take.
I agree - we are known by our friends - or secondary characters.
ReplyDelete