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. Or this example of a working relationship from Legacy of Love. Ranch foreman, Colt McKeacham, relies on his lead hand and horse wrangler, Bailey Johnson.
But still, the worm of misgiving in his gut wouldn't give up. He twisted in the saddle and motioned for Bailey to join him.
"What's up?" Bailey asked, pushing his horse up beside Colt's.
Colt shook his head. "Not sure. Something's not sitting right." He swore under his breath. "Hell, I'm going back. Take over for me."
"Sure. You worried what Callie might get up to on her own?"
Colt nodded. "I didn't believe Robert. Now he's dead. Callie's only been here a few days, and she's already been involved in one accident. Bailey, did she fall off that fence when we drove the horses in, or was she pushed?"
Secondary characters will have a different perspective on Character A, and understand and 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. One thing is sure, don't ever underestimate the strength of a secondary character.
Victoria Chatham
