I was originally going to write a post about secondary characters and how they can add so much to a story when I realized what I really wanted to ask, especially when I read slush: “Why does the heroine have no friends?”
Memorable secondary characters can affect a book. The people who immediately popped into my head were Mr. Collins in Pride and Prejudice, Sir Fotherby Nugent in Sylvester and all of Bridget Jones’s friends. I realized I really wanted to write about how a writer can and should create a full and complete world for her hero and heroine by including specific, unique, memorable secondary characters.
So often I read a romance novel, or a mystery or a sci fi adventure, where the heroine’s world seems to revolve around her career and that’s it. A token friend or two is mentioned, but once the hero and heroine meet – especially in a category romance – they seem to live in a bubble. Don’t they have any friends? Don’t they go out for coffee (think of the endless brunch scenes in Sex and the City), take lessons or belong to a book club? If they are incapable of maintaining a friendship why should the reader believe they can maintain a romantic relationship?
Some writers have clued in but only deliver in the most simplistic manner. A token friend arrives on scene to help move the plot forward. Yes, that’s helpful but oh-so-predictable. Couldn’t these friends be memorable? I loved Bridget’s super successful banker friend who spent hours on her mobile in the loo talking about her boyfriend; the male friend who was living off the residuals of his one-hit wonder (I am thinking the movie version here). These characters are only in short scenes but her friends help both make the book and Bridget. I would not have liked Bridget nearly as much or believed Darcy could fall in love with her unless I thought she was a good friend.
Bridget’s friends
Think of Mr. Collins. He’s pompous, insecure, pious, critical, a social-climber and he has a thing about closets! He sets plot points in motion: his proposal to Elizabeth; his subsequent marriage to Charlotte; Elizabeth’s visit with the married Collinses. Elizabeth’s reactions to him and to his marriage to Charlotte show differing characters beliefs (or hopes) about the roles of true love and marriage. Charlotte states she cannot afford to believe in love. Elizabeth, no matter the costs, does.
Mr. Collins, always greatful to his patroness Lady Catherine de Bourgh
Many of the secondary characters in Georgette Heyer’s novels are just plain funny. If you haven’t met Sir Fotherby Nugent and his tassled boots in Sylvester rush out and get your copy now and start reading. (It’s one of my personal favorites.)
So if you want to make your story really come to life, if you are looking for original and creative ways to express your ideas, don’t forget your secondary characters!
“Polished” Hessians — very important to Sir Nugent!
Tags: submissions
A great reminder about the importance of secondary characters, and how much they can add to stories.
Yes, yes, a THOUSAND yeses! I LOVE secondary characters, love when they have dimension and quirks and wit and compassion for a (hopefully) flawed protag. They bring so much to the story and to the reader’s perception of who the hero and / or heroine is. Only thing I like more than reading a good secondary is developing one as a writer.
I agree – well developed secondary characters add a LOT and make the whole story feel more real. I’ve also noticed that many heroines are orphans. Friendless orphans. Friendless orphans concentrating on their careers. Walking through the snow to work. Up hill.
I absolutely agree, although sometimes when trying to fit a romantic suspense story into a shorter word count friends get sacrificed
Although I do love writing my secondary characters. Possibly too much 
I realized that I had written an entire murder/sabotage/intrigue/sex story and my heroine not only had no friends she must have been a sad lonely orphan. When I created a brother for her, his story practically wrote itself! Hopefully if that first one gets accepted, I’ll have the opportunity to write the brother’s sexy story too! great post . thanks!
Liz
I totally agree with Toni. I’m removing the best friend from my current Carina book, at the recommendation of my editor. LOL Her lack of friends fits with her main conflict, but even if she had them, they don’t have any place in my 5-day adventure plot.
For a more “normal” storyline, though, well-developed secondaries are a must!
I love writing secondary characters. They really can add so much to a book. I agree that when the focus is all on the ‘lurvin’ (not that there’s anything *wrong* with that
) and doesn’t flesh out the world that the H/h inhabit, I feel cheated. Who we choose to share our lives with is a huge reflection of who we are, romantic and platonic. If the heroine doesn’t have friends, then what does that say about her as a (fictional) person?
Wow. What a great point! I never thought about lack of friends for my heroines…sometimes when you’re writing suspense it’s very difficult to add the friends element in…but your post is making me think about working harder to add that extra layer into a story.
Totally agree. There’s also been quite a few books where I haven’t cared too much for the main characters and their stories, but fell in love with the supporting cast and therefore considered the book excellent
Great post! I always enjoy writing secondary characters because it gives me a chance to explore character traits that don’t necessarily fit with either the hero or herione. Plus, writing dialog between friends is always fun!
I was thinking about secondary characters just a few days ago. I was thinking about how “Catch-22″ wouldn’t be the amazing book it is without its huge cast of characters. To me one of the most memorable is Orr with his “apple cheeks.”
In the first of a three-series, my Hn has a good friend who plays a small part, and a cousin who plays a huge part in her relationship with the Hero. In the second, the story revolves around the cousin and good friend who become the central characters. In the third, the Hero has had a chance meeting with the Hero from the second which changes his life.
I had a couple people tell me early on that I shouldn’t focus on the secondary characters. “You don’t want too many extra characters to keep track of. Don’t give them more than a cursory passing.” But I couldn’t do that. The shouted too loud for their own page time so I gave it to them. I think it works. So do my critique partners. We shall see…
I agree about secondary characters. What would Stephanie Plum’s books be without Grandma Mauser, or Lulu, or Connie, or even the sister and brother-in? (Not to mention the squirrly cousin Vince?) On the other hand, I think Robert Jordan went way over-board with this. In his books you have to have some kind of score-card to keep up with everybody.
In my new book the POV character’s father makes a great foil for him. He’s new in town and on the job so in this first book (of what will hopefully be a series) he hasn’t had much time to make friends. But he’s working on it.
What a great topic! I’ve thought that too, and also wondered why, if the heroine is such a fabulously lovely, charming, sexy woman, she apparently can only attract two men, the hero and the obligatory Evul Villin.
I also adore Sylvester. Sir Nugent Fotherby’s comeuppance at the hands/teeth of Edmund and Chien is one of Heyer’s great scenes.
THANK YOU! I have often wondered why it is that so many heroines, regardless of genre, lack friends or the friends we see are token at best. Most of the time, it doesn’t feel real and I too wonder how can she be so special, wonderful, kind, etc if she doesn’t even have friends.
I love secondary characters, they add so much to a story. No, you don’t want them to take over the story but they add depth and even fun to the story.