Tag Archives: minor characters

Minor Characters in Stories

 

Minor Characters in Dark city

Nosferatu-like creepiness characterizes the minor characters in Dark City

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Do the minor characters in your story exude personality? Do they have small but noticeable eccentricities? Are they memorable in some or other way? If not, they need to be.

A bevvy of minor characters

In Dark City, detective Eddie Walenski, played by Colin Friels, is obsessed with drawing circular patterns on the walls of his dark prison-like room. He behaves like a man who has seen a terrible truth about existence and it has tipped him over into madness.

In Body Heat, D.A. Assistant, Ted Danson, is a minor character who pretends he is Fred Astaire, performing dance steps whenever he gets the chance. Odd but strangely captivating.

In The matrix, the Oracle is a minor character loaded with strong habits and mannerisms. She smokes like a chimney, drawing on her cigarette with excessive deliberateness, is obsessed with baking, and never answers a question directly.

In Down Periscope, writer David Ward creates a wonderful array of minor characters for his Lt. Dodge to engage with:

Nitro, the electrician is dumb, erratic, but very efficient at his job. It’s as if his I.Q. has dropped as a result of all the electrical shocks he’s received over the years. In order to have Lt. Dodge communicate with his superiors, Nitro has to turn himself into a conducting conduit each time!

Engineer Howard Elder is a sailor with many years of experience, which seems to have made him eccentric, if not downright wacky. He sports a filthy Hawaiian shirt and stubble. It’s as if Pearl Harbour has traumatized him so that time has stood still and he has never changed clothes.

Executive Officer “Mart” Pascoe is rigid and authoritative with a bad temper. His intimidation tactics are compensation for his diminutive stature. He repeats orders from Lt. Dodge by shouting them at the crew at the top of his voice.

Although the characters mentioned in the examples above are indeed minor in terms of the time and space they occupy in the story, each is made memorable through colorful mannerisms, eccentricities, or obsessions.

Summary

Minor characters need not be bland and flat, only serving the plot. Give them quirks and eccentricities to make them and your story more memorable.

How to write a minor character

Minor character

There is no truly minor character in Toy Story in terms of impact


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Most novels or screenplays contain at least one minor character. This is a character who serves the plot in some important way, but who does not warrant the time and space required to develop him into a major player.

One of the pitfalls of crafting minor characters is that they can easily slip into stereotype or cliche, possibly because writers tend to create such characters more out of necessity than passion. Yet, such pitfalls are easily avoided.

Aks yourself the following questions:

1. What is the function of the character in the scene you intend to write?

2. Can this function be performed by an existing character?

In deciding this, consider whether this is truly a secondary character, or a bit-part player. Bit-part players occupy brief moments in a story and need not be extensively fleshed out. What is this character’s relationship to the plot? Is it simply to convey new information, or is the character emotionally linked to the protagonist or antagonist? If emotionally linked, he/she/it is a minor character, rather than a bit-player.

3. What is your minor character’s background — upbringing, education, occupation? Her background will influence her style of dress, body type, body language, dialect, speech idiosyncrasies, hobbies, unexpected interests. The latter are markers which, in the absence of deep interaction and complexity, grant a minor character uniqueness at a glance.

The Minor character in Toy story

In the film, Toy Story, the Dinosaur and Mr. Potato Head are minor characters who are uniquely differentiated through their speech, appearance, and psychological make-up. The Dinosaur is timid and nervous, while Mr. Potato Head is irreverent, bold, and sure of himself. They are as different from each other as Woody is from Buzz Lightyear. They are a wonderful illustration of coulorful and interesting characters made so through broad strokes.

Summary

Create interesting minor characters by infusing each with physical and psychological traits that manifest in unique dialogue and behavioural patterns.

Simplifying the Story Question

Question Mark

The Story Question

During one of my lectures on storytelling in Sydney, Australia, I remember one student asking me if there was one single piece of information, one pithy piece of advice, I could offer novice writers, which might help them to kickstart their story?

This reminded me of my asking the very same question of one of my mentors at the London International Film School, many years ago. The advice I received back then was the same advice I offered my Sydney students: What does your protagonist want and why can’t he/she have it?

This generic question incapsulates most traditional tales in one single sentence. Answering it involves telling a story in which the protagonist encounters a problem, seeks to solve it, is opposed in solving it by the antagonist, and either succeeds or fails to do so by the end of the story. Chunking these considerations into separate parts, yields, most typically, a three act structure based upon that well known Aristotelian observation that a story has a beginning (what is the problem), a middle (how does the protagonist engage with the problem) and an end (how is the problem finally resolved/unresolved).

Exploring Character

Probing the sentence further we uncover a psychological element: What does your protagonist ‘want’? Exploring your protagonist’s want(s) leads us to consider deeper elements of his/her life such as background, occupation, relationships, psychology, want versus need (see previous post). Some of these elements are typically revealed in the story’s subplot, involving minor characters who are arrayed into two main camps, the protagonists’ and the antagonists’. Typically, the subplot acts as a foil to the plot, highlighting, either by comparison or by contrast, similarities and differences in character, values, goals, as well as strengths and weaknesses of the major characters.

Exploring the Inner and Outer Journey

The question also hints at a dual journey to be undertaken by the protagonist in order to achieve his/her want: Clearly there is an outer goal to be achieved in order to fulfill the want, which, most typically, involves a physical entity or result: get the girl, stop the bomb from exploding in downtown Los Angeles, save the cat (outer journey). But the want involves a need: Why does the protagonist need to risk life and limb to do so (inner journey)?

We can see, even from a brief exploration of this basic question, how probing it yields an individual story that is, nevertheless, based upon a general truth. A typical story is nothing other than the tale of someone who wants to achieve something because of some deep psychological/human need, but is being prevented from doing so by opposing forces.

Summary

At the deepest level, individual stories may be summed up in universal structures. One such structure comes in the form of a question: What does your protagonist want and why can’t he/she have it? In answering this general question, you are, in fact, telling an individual story.

Invitation

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