‘Not-So-Minor Characters’ (2015)

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Gotta outgrow this!

You’d be insulted, wouldn’t you, if people dismissed you as “a minor character”? Well, fictional characters don’t like it any more than you do.

Not-So-Minor Characters

To this day I still cite Dick Francis and H.R.F. Keating as stellar examples of writers who brought their characters to life. You don’t need to load down the book with biographies that interest no one: but you do need a touch of color.

The biggest offense a fiction writer can commit is to write himself up as the larger-than-life hero of the story. Even publishers don’t like it! That sort of thing is very popular in high school among teens who think they’d someday like to be writers.

It’s a phase that must be passed through as quickly as possible.

‘Not-So-Minor Characters’ (2015)

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Chock-full of really cool characters–my books

Just about the most annoying books you can read are those in which the hero is obviously a stand-in for the writer himself, and the other characters are only there to make him look good. Oh, fap!

Not-So-Minor Characters

If you’re going to do that, you might as well go into politics, where it’s expected. Capitol Hill always has room for one more fat-head.

Highly recommended: the Inspector Ghote novels, by H.R.F. Keating. You can learn a lot from these–or just kick back and enjoy them.

Not-So-Minor Characters

Well, at least I can transport my own picture from

the “Bio” on this site, to this page. We advance by little tiny steps.

Among the most unreadable books in existence are those in which the protagonist is merely an avatar of the writer himself, powered by wishful thinking: like, here I am as the smartest  guy in the book, the handsomest,

the sexiest, blah-blah. And all the other characters

are merely names on paper, because the writer is so exclusively interested in himself.

To make your story live and breath, your characters have to live and breath. In that sense, there’s no such thing as a “minor character.” That doesn’t mean that, every time a new character appears, you have to tell his whole life story. He may only be there to say “Here are the gumboots that you ordered, madam,” and then exit.

I first noticed this technique years ago when I was reading a lot of Dick Francis’ mysteries. Every character who appeared, even those for whom a name wasn’t necessary, the writer dabbed with just enough color to make him or her come to life.

I found a wonderful example of this last night, in Inspector Ghote’s Good Crusade by H.R.F. Keating (1966). Here, India’s most famous detective is interrogating a cook whose great concern is to tell the inspector whatever he thinks the inspector wants to hear: he does this because he’s afraid of the police, and doesn’t even notice when his answers are the exact opposite of answers he’s given just moments ago. It drives poor Ghote up the wall, but makes for wonderful entertainment. The cook is only around for a page or two, but he’s a minor character I’ll never forget.

This art requires some subtlety, and a lot of practice. It won’t do, just to tack on something like, for instance, “Here are the gumboots that you ordered, madam,” said a delivery man with a tattoo of a lobster on his cheek. But even that is a step in the right direction. It’s something the writer has to work on before he can master it.

As you can see, I have utterly failed to post my picture in the upper left-hand corner of the page. Well, live and learn.