It’s easy to forget that your side characters are the heroes of their own stories; that they have their own goals, not just roles. I’ve tried to strengthen my side characters alongside my protagonists throughout the editing process to make them more than just ‘sidekick,’ ‘mentor,’ or ‘comic relief.’
Each has their own life, whether they’re the janitor at the royal palace or the trusted advisor behind the throne. Forget about the emperor, these characters are the heroes of their own stories. What do they want? What are their goals, fears, wants, misbeliefs? Their internal conflicts? How do they impact on our main characters?
The richer are our side characters, the deeper are the stories they support. They demand the same treatment, if not the same detail, as our protagonists and antagonists. We have to go beyond a traditional story role.
Same as it ever was
If we look at Pride and Prejudice (yes, collect a sticker), George Wickham is a secondary antagonist. Traditional analysis frames him as a shapeshifter, a changeling, a trickster. Those are all roles.
In his own mind, Wickham is a wronged man; that’s the lie he tells himself to cover his jealousy and greed. He wants the money and status he believes is his due from the Darcy family. Shown an upper class life he can’t have, he rebels in the most malicious way. When that fails, he takes advantage wherever he can.
The elopement with Lydia Bennett was never about marriage. Wickham wants to extort a quick payoff from a vulnerable family.
Mr Collins plays the role of the pompous man, or the fool, another secondary antagonist, Collins is a vainglorious, ambitious, grubby social climber. A lowly parish vicar, Collins uses the reflected glory of his patron to impress his peers and tries to find a suitable bride to impress Lady Catherine herself. It’s doubtful that Collins acknowledges his own hypocrisy.
The Light Fantastic
In my fantasy series, the classic view of Danaan is the mentor, guide, and wise man to Jo and Varla. He’s literally a shaman, a philosopher and a healer. His internal conflict? A man of peace, who values living things, he longs to strike back at the Empire. He wants to find peace, to restore his homeland. Unable to achieve those, he commits to supporting Varla and Jo in any way he can.
Risto is a classic sidekick and trickster. Her external want is to make a little money, have a little (illegal) fun and distract herself from her loneliness. Her conflict? She’s a cynic who wants to believe in friendship and family. She wants to find a place. In the meantime, she challenges Jo’s plans and values.
Jaks represents the lamb, the child to be saved and protected. His conflict is his guilt versus his piety. His is a search for forgiveness. He cleaves to Jo and Varla like family.
Finally, Marto represents the pilgrim in a search for redemption. A deserter from the civil war, Marto is the lost boy who can’t forgive himself. With the end of the war, Marto seeks to atone through service, loyally following Jo and Varla as they continue the rebellion.
Counterpoint
Throughout the series, these side characters challenge Jo and Varla’s motives, beliefs and goals, even as they willingly step into harm’s way. My protagonists don’t get an easy ride from their supporting crew. They all want some kind of redemption, some kind of family and a place to call home; and it contrasts with a desire for justice, or at least, vengeance for crimes suffered in the past.
Each of them sees themselves as the heroes – or perhaps villains – of their own stories, while Jo and Varla offer a means to get back onto the right path.