SO what’s your process for creating characters? Especially supporting cast who are important but not influential in the plot? Walk me through it!!
Hey Buddies!
Hokai so Character Creation is a big big ass subject and a very important one. To quote Chuck Wendig: “Stories are soylent green, they’re made of people”. And if you take even a glance at fandoms you’d see how important characters are to readers and fans. Characters are how we step into story and these wonderful worlds writers create, they’re what we connect to, empathise with and so on.
I like to break character’s down into three groups: Main Characters, usually our hero, main villain, any POV characters or live interests. Side Characters, the protag’s friends, allies, love interests, smaller antagonists. And supporting characters, everyone else that fills up the world and makes it feel alive and gives it depth.
So if we’re gonna focus on side and supporting characters, there’s a few key things to remember:
Characters aren’t just people, they’re tools in our storytelling kits. While we should seek to make them feel alive, we need to remember their purpose and function in the story.
All characters save for the once and done ones you make up on the fly like that barista with a bad attitude or the kindly bus driver should have some depth, positive traits, flaws and at least a suggestion of change, if only in how readers and pov characters see them.
Draw from life but don’t copy from life.
It can be so easy to slip into cliche and offensive stereotypes so it’s vital to be mindful about what kind of character’s you’re putting on the page and how you’re using them. Some stories are not yours to tell and that’s okay.
Finally to be perfectly honest, a lot of this for me is kind of instinctual. Some of my favourite side characters popped up out of nowhere and had at most a sentence in my outline telling me their purpose. But I’ll try to explain my thought process.
When I’m planning or writing a story and the need for a Side character comes up (a protagonist’s friend or neighbour, coworker, boss,) someone that’s gonna have some influence on the pov character, that we’ll see more than once I try to settle on their purpose.
Are they an ally? A friend? A helpful neighbour? Are they this asshole down the street that has conflicts with the pov character? A henchman of the bad guy? Are they there to help or hinder or be a foil or a mirror?
Say we have a protagonist who is kind of isolated and withdrawn. She’s gone through some shit, has trauma from before the story but their character arc isn’t about struggling through the dark alone but learning to make bonds, to finding their own people and community. They’re gonna need some nice side characters to help with that. Someone she can bump into a lot and form those beginning connections with.
Off the top of my head that means neighbours, either immediate or down the street/hall, people that frequent the same places she will like the cafe on the corner, wherever she works, etc. Let’s go with neighbours. Maybe… Older nosey neighbours, the kind that’d chat over the fence or bustle by to say hi and welcome and offer something baked.
Right off the bat, I get a bunch of ideas, my brain throwing at me examples I’ve seen or read of before either as they are or recombined into new ones. I see Wilfred from Dr Who, Carl from Up, a bunch of Karens (male and female) from social media, people that I’ve known in real life, including my own Grandmother. And I think about this character’s purpose.
I want them to be an ally, someone that helps my protag along their personal journey. That’d mean they’d have to be friendly, warm, good hearted, but a bit nosey and probably very stubborn to get past the walls my protag has thrown up. My mind clicks onto the archetype of a grumpy old man, all bristle and hot air but caring. No nonsense, no bullshit, calls it like he sees it but not tactless.
I like this idea but I don’t stop here. I keep poking at it like I’m building something from lego without a plan, putting things on, taking them off. Maybe this guy is a widower and just as lonely as our protagonist. Maybe a grandfather estranged from family but wishing he could have done better. Maybe his wife is still alive but they never had kids.
Eventually, I settle on this idea of the two old love birds, no kids but they like to take in strays. Meaning they keep an eye out for anyone alone and offer a welcome. Nothing pushy, just the ‘neighbourly thing’ to do. Then it’s just what they look like (He’s broad and blocky, strong in his youth, and she’s small and petite with eyes magnified by thick glasses), what their basic personality is like (he’s a grump but sincere, she’s sweet but mischievously sassy and they bicker for fun), maybe things like heritage(Italian-American, Irish, maybe Eastern European), health concerns(he has arthritic knees and a replaced hip and uses a cane, she maybe had breast cancer), habits, etc and that’s enough for me to go off.
I only really understand my characters after I’ve written them for a bit, so try them out in a few scenes and see how you like them.
This is also where I double check my work for stereotypes, especially when working with identities and so on beyond my own experience. I highly recommend you double check with people belonging to those groups, or refer to one of the blogs on tumblr that act as a point of reference like WritingWithColor. Be humble and open to learning with this.
If you really want to go further, you can give them an arc of their own. Maybe they have their own struggles you wanna touch on that could flesh out the story, give your protagonist a chance to do something in return. Maybe a problem that reflects the main conflict but on a micro scale. But the trick here is the audience doesn’t need to see all of it, just the changes that matter and serve the greater story.
And of course as always, sometimes my plans explode in my face and I have to adapt. I’ve made these characters up on the fly when I realised I needed one, I’ve also cut them from the story or combined two or even three into one, or I realised I needed a friend to be an enemy. I’ve even had to take really minor supporting characters and upgrade them, or downgrade side characters.
To create very minor supporting characters, I do the same just with way less detail.
Maybe my protag is taking the train and there’s another passenger that’s kind of a rude entitled business guy and we get to see some tasty petty revenge or he just makes a bad day worse. Or there’s a cafe our protag always goes to and there’s this barista she maybe says hi to and shares compliments with who notices a change for better or worse.
These super minor characters I really just make up as I go and as I need. They’re really simple and I like to use them to emphasise a mood I’m going for, to break it up or to highlight just how my POV character is feeling or in denial about.
Like any part of writing , character creation is a skill you can practise and develop over time.
And one part of this skill I am constantly mindful about is making these characters diverse, but respectful. With these simple ideas it’s so easy to slip into harmful stereotypes and I feel writers have a responsibility to be as mindful as we can, to constantly learn and try to do better.
If you made it this far, go get yourself a treat, have some water and feel free to ask more questions if you have any.
