There is a balancing act when it comes to writing. It comes in many forms and can be handled in numerous ways. One of the main issues I have found while working on The Medusa Coin relates to minor characters vs their major counterparts and the juggling act therein.
The need for minor characters
Minor characters inhabit the world surrounding your principal players. From the man handing over a cup of coffee to Officer John Pratchett in the Greystone series they are a vitally integral component in fleshing out the world of your main characters.
They act as counterpoints for character arcs, offering opposing viewpoints or giving an outsider perspective to issues going on in the background of your story. They bring color to the black and white principles of the main character’s world. Their roles include love interests and foils put in place as obstacles to keep them from their goals.
Whatever the role they are necessary to the end result; a fully formed world for your reader to lose themselves in.
Where minor characters distract:
When minor characters become principal players in the novel it can be jarring for the reader. Unless the transition is gradual and accepted by the reading public, more often than not there will be fan outcry at the loss of visibility for their favorite hero or heroine.
There is an old Superman tale I always come back to when it comes to this issue. The story is called Panic in the Sky and deals with Brainiac invading Earth with his Warworld fortress. Superman leads the charge, commanding a cadre of heroes, against the forces of Brainiac.
The story is amazing. Well thought out with high stakes. Superman is put through a real test during the course of the piece. Then at the climax Superman DOESN’T save the day. Someone else does. A woman named Maxima.
MAXIMA? WTH?
Now, being a comic nerd I understood what the author, Dan Jurgens was doing here. He was setting up Maxima and Superman’s entrance into a new incarnation of the Justice League. However, for a Superman story to lose sight of the man of steel so completely at the finale of a long arc was a tragedy of the worst kind. It pulled me right out of the story and is painful to read even now. (Pretty to look at though.)
This would be akin to the Lone Gunmen showing up in The X-Files finale and ending the threat of the Cigarette Smoking Man once and for all. (If they had survived until the finale – stupid Season 9…)
Or Dean Thomas saving Hogwarts while Harry Potter slept one off at Hagrid’s. (WHO THE HELL IS DEAN THOMAS?!)
In the words of the Earl of Lemongrab from Adventure Time – UNACCEPTABLE.
How minor characters best serve a story:
Much of what I spoke about above are the ways a minor character best serves a story. A foil for the protagonist. A love interest. An obstacle. A counterpoint. Someone that brings humor to a dreary situation or brings conflict with an opposing perspective on a situation.
Someone that adds a layer that wasn’t there without them in the room.
The very best way to use a minor character is to give them A moment not EVERY moment. Maybe it is a one-off joke. That’s how Pratchett started off for me in Signs of Portents. Now I try to work him into the story more often in order to showcase that differing perspective.
The story remains centered around your principal players. Stay true to that, while allowing the minor roles to add depth to the plot and conflict to your character arcs.
Thanks for reading.
