Last week Nailing Down The Essentials continued the Character Development Series with Heroes. I’d planned to talk about the Heroine today, but home life has been incredibly busy (also the reason I’m so late getting this post up), and a post for less significant characters took far less thought than one for a main character. So, this week, it’s minor characterd.
Hotel clerk, bar tender, cab driver, friend of a friend. Anyone can be a minor character in your novel – it’s an equal opportunity career. The minor character is one who is only present for a short time in the story. They can make one appearance, or several, but the reader doesn’t see much of them. They often have a vital bit of information to pass on to the protagonists, and when they accomplish that, they can disappear. Some hang around a little longer to take care of less important tasks, but they don’t get a great deal of attention.
The temptation is to bring the character into the scene, let him do his job and leave, without bothering to do more than name him, if we even do that much. The trouble with that approach is, it can minimize the importance of the character’s job to the reader, causing her to miss something important.
A moment’s more work can add new layers of significance to whichever conflict the minor character is part of, and even introduce the potential for more conflict and tension. Suddenly, this one-off character can reveal some aspect of the protagonist’s (or antagonist’s) personality that we may not even have been aware of. The reader’s experience will be richer, the other characters more multidimensional, and the plot can become more complex.
How do we achieve this miracle? Simple. Give the character 2 or 3 unique traits, and reveal those traits judiciously. Put a couple minutes’ thought into the traits, and into how you can get the most mileage out of them.
In Blood Dragon, Kiellen’s mission is to find Jaden after her friends reported her missing. He goes to the motel her friends say she intended to check in to with the man she met at the nightclub. The clerk brings out facets of Kiellen’s personality the reader hasn’t seen yet.
The clerk is young, and insolent, which reveals Kiellen’s impatience in dealing with humans. His tension escalates as the clerk takes his sweet time answering questions. In a scant hint of foreshadowing, Kiellen begins to wonder why his emotions are surfacing with this mission. With his habit of emotional distance from his missions, dealing with anger and frustration while trying to keep a clear head is new, and frustrating as well, introducing a new source of inner conflict.
Of course, I could have revealed all that in other ways. But the clerk provided the opportunity, and to have wasted it would have simplified Kiellen. I could have used another trait for the clerk to either reveal more about Kiellen, or the plot, but I chose not to. Too much of even a good thing can ruin the story.
Give it a shot. Write a scene where your Hero and Heroine are out to dinner. Have the waiter flirt openly with the Heroine, while sneaking snide remarks. Using the Hero’s point-of-view, explore his reactions to this insignificant character. Does he realize he’s jealous? Try to hide that fact from the Heroine? How else does he react to his jealousy? How does the Heroine react? Perhaps this is where the Hero begins to realize he has feelings for the Heroine?
The key to using minor characters this way is striking the balance between giving them enough significance that the reader notices what they do, without making them seem more important than they are.
How do you use minor characters? Do you make them stand out, or just let them fade into the setting?