Dear Story Nurse,
Once again I’m looking back at a first draft and making notes of what needs fixing. It’s my usual list: Slow down, set the scene, connect things better, and fill out the ancillary characters. It’s the last one that I continue to find the hardest, particularly in my longer fiction. (In this case a near-future science fiction novel.)
My main characters are generally good, each having their own full and distinct personality and voice. But my supporting characters, the ones who reoccur occasionally to help move the story along, are all the same generic piece of furniture, saying or doing only what is necessary to further the story. They usually embody some specific purpose. (The Informer, the Boss, the Scientist, etc.) I feel like it’s important to make these characters distinct for the benefit of the reader. If the character has been off page for several (or many) chapters, I’d like the reader to recall their value without too much prompting. These characters also tend to be the third (or fourth or fifth) person in the room, and giving them a distinct presence can help calm the mayhem of group scenes.
Since they aren’t main characters, I don’t want to spend too much page time developing them, so I feel the pull to draw from familiar clichés. (The sniveling Informer, the clueless Boss, the Scientist with bad social skills, etc.) But applying broad clichés doesn’t really do any favors to me, my readers, or the characters themselves.
On the other hand, when I sit down and give them all the consideration of a main character, they get away from me, doing all kinds of things. I love that behavior in my mains, but it’s downright rude of my supporting characters since it’s not particularly… uh… supportive.
How can I balance all of these competing forces to best serve the story and the reader?
—Ancillary Justice (they/them)
Dear Ancillary Justice,
There’s a broad range between “plot furniture” and “side character gets uppity, wants to be the protagonist.” I think you can aim for somewhere in the middle of that range and have it work out well, as long as you have the writerly discipline to keep your characters in line. Or you can develop side characters as embodiments of the setting, which will probably serve your books better in the long run.