Feedback Wanted
Secondary characters are often at their best when they’re doing one useful job and not trying to become a whole second novel.
And then sometimes they start having feelings, opinions, a private history, a point of view that refuses to stay in the corner. Which is annoying, because the tidy version is easier to manage. The better version usually has more friction in it.
I’m curious how other writers decide when to keep a supporting character in their lane and when to let them become emotionally complicated, even if that means they begin stealing scenes the plot did not budget for.
And then sometimes they start having feelings, opinions, a private history, a point of view that refuses to stay in the corner. Which is annoying, because the tidy version is easier to manage. The better version usually has more friction in it.
I’m curious how other writers decide when to keep a supporting character in their lane and when to let them become emotionally complicated, even if that means they begin stealing scenes the plot did not budget for.
A supporting character can do one job and still have a pulse. That’s usually the sweet spot. Once they start carrying the emotional load of the book, I want to know why they’re here at all.
If they’re only ever a function, they flatten. If they start demanding their own weather, fine, but then I’m expecting the main plot to pay for the extra baggage.
If they’re only ever a function, they flatten. If they start demanding their own weather, fine, but then I’m expecting the main plot to pay for the extra baggage.