Secondary Characters – Definition And Examples

We’ve all done it; spent hours and hours defining the minutiae of our protagonists, even down to their favourite ice cream flavour and dream holiday destination. But what about the people who surround them? These secondary characters, also called supporting characters, are vitally important to our stories. They may even become the fan favourite: just think about the beloved Dumbledore or Shakespeare’s Mercutio.

Secondary characters are frequently described as supporting characters because of the role they play. They are often supporting the protagonist and driving the story forward, for example acting as a sidekick or love interest. Or they are supporting the development of the protagonist’s character arc, acting as a foil or to build a character’s backstory. Secondary characters may even offer comic relief or carry subplots all of their own.

There is no ‘hard and fast’ rule for how many characters there should be in a novel. Some novels make use of a vast cast of characters (think of George R. R. Martin’s A Song of Ice and Fire); while others focus on a single protagonist. But even novels with a minuscule cast will still have secondary characters, even if we only meet them through flashback or another literary mechanism.

What Is A Secondary Character?

So, what are secondary characters? They are those in our stories who play a significant role, and appear in multiple scenes, but who are not the main focus of the primary plot. These supporting characters may be the focal point of their own subplots and so they are integral to the story as a whole. 

Characters who only appear in one or two scenes, or who exist entirely on the periphery of the story, are unlikely to be secondary characters. Some characters exist only for a very narrow purpose: a waiter serving dinner, a taxi driver, a colleague who is seen only once. We often refer to these characters as tertiary.

Why Do Secondary Characters Matter?

Secondary characters matter because they add layers to our stories. When we read a book, of course we want to know what happens to the main characters, but we also want to see them as part of the wider world. Secondary characters provide that anchor and an opportunity to showcase a more complex fictional surrounding.

One of the most useful things they do is offer our protagonists someone to talk to. It sounds so simple, but without someone to talk to, our protagonists may need to do a lot of pontificating, which is unlikely to feel particularly exciting for our readers!

Secondary characters may also provide a subplot of their own to drive the narrative, solidify the themes, or provide a necessary change in pace. Think of the death of Rue in The Hunger Games; the reverence of Katniss’s memorial to her was in stark contrast to the high-octane action during that part of the story.

How To Develop Secondary Characters

The main thing to remember when creating secondary characters is that they are characters first and supporters second. They should feel like whole people who could step straight off the page, so we must avoid them becoming clichés, or even worse, being contradictory in order to progress the main plot. There is nothing more off-putting, or likely to throw us out of a story, than if a secondary character does something we know they wouldn’t, just to make a plot point work.  

The best supporting characters will have all the things we expect from good primary characters: a clear arc, recognisable personality traits, and consistent points of view. So, how do we write brilliant secondary characters?

First and foremost, remember that they are real people; they are the product of their life experiences, and this informs how they interact with the world around them and the other characters that meet them. Do we need to write them all a whole and elaborate backstory? No. But we do need to think of some of the key things they have been through that have shaped them. What about their hobbies, their families, their hopes and dreams, the little idiosyncrasies that make them unique? 

Secondly, make them interesting and special. Secondary characters are a perfect opportunity to surprise our readers and grab their attention. Keep readers on their toes and they won’t be able to put the story down. These characters don’t have to be likeable, or sympathetic, so have some fun!  

Make sure that the secondary characters have purpose within the context of the overall story. They need to be connected to the main narrative, even though that narrative doesn’t revolve solely around them as it does for the protagonist. Remember that old saying ‘kill your darlings’? Secondary characters must be necessary, they aren’t just an opportunity to pad a story with an unrelated back story or sub-plot. And if they are? Well, you know what you must do.

When I’m planning my secondary and supporting cast, I create a character profile for each one to enable me to keep track. This includes their names, relationship to other key characters, age, sex etc. But I will also include other more interesting information: where were they at the turn of the millennium for example, although a more up to date example might be what they did during the first lockdown in 2020! These character profiles or bio templates can also be very helpful for making sure that our secondary characters are all unique and we don’t have multiple characters who are too much like one another. We don’t need as much detail for our secondary characters as for our protagonists, but we still need to ensure that are fully formed and feel real.

A quick point on names: make sure they are also memorable. Most of us agonise over the names for our protagonists, ensuring it is perfectly suited to their personality and perhaps even finding something with a double meaning to the story. We must make sure our names for supporting characters are similarly suited to them and also that they are different from each other; there is nothing more frustrating as a reader than not knowing who is who because they are all called Dave!

Dynamic Characters

Dynamic characters are those who have a character arc and therefore change over time. This change may result from a significant crisis or from resolving a major conflict. Our protagonist and other major characters will undoubtedly be dynamic characters, but there is ample opportunity for us to make secondary characters dynamic too.

Static Characters

Static characters are the opposite of dynamic characters in that they do not change over time. They remain the same throughout the story, with no major transformation or evolution. They are often used to provide a contrast to the main characters’ journeys, especially to highlight the evolution of the protagonist. We can also use static characters to provide some lighter relief to the narrative.

Round Characters

Round characters are those who are complete and complex individuals. They are likely to have elements of their personality that contradict or provide inner conflict. We can craft these complex personality types to ensure that the reader connects more fully to our characters, as they are seen as more ‘real’.

Flat Characters

Flat characters are the opposite to round characters and are defined by just one main personality trait or characteristic. Flat characters are most useful as tertiary characters, those incidental people our primary or secondary characters interact with. These flat characters are likely to ‘blend in the background’ and so do not slow down the narrative. 

Examples Of Secondary Characters

We’ve talked about the types of secondary characters, but these supporting characters play a number of important roles too, including acting as companions, assistants, foils, roadblocks, and antagonists.

The companion, or sidekick, is a secondary character who stands with the protagonist on their journey. They might be a love interest, a friend, a sibling, or just someone who goes along for the ride. They don’t even need to be human, there have been some great animal companions in literature, offering the protagonist company and someone to talk to, such as Buck in The Call of the Wild. 

Some companions play more of an assistant role, offering help and guidance to the protagonist. Probably the most recognisable assistant in literature is Arthur Conan Doyle’s Dr Watson, without whom Sherlock Holmes would seriously flounder. Batman’s Robin is another great example. 

Another significant supporting character role is the foil. The foil exists to contrast against the main character and therefore we can use them to highlight the qualities of the protagonist we wish to accentuate. JK Rowling used this technique to highlight the inherent good in Harry Potter by pitching him against Draco Malfoy. Draco also epitomises the naked ambition that is in direct contrast to Harry’s initial reluctance to see himself as the hero, which only makes us love him more.

We often use secondary characters as roadblocks, using them to put challenges in our protagonist’s path. This may provide essential plot elements, or form part of the main character’s arc by providing opportunities for them to grow and change. How they react to these roadblocks may provide significant illumination about the main characters. In Cormac McCarthy’s post-apocalyptic masterpiece, The Road, a father and his son are travelling by foot with all their possessions in a supermarket trolley. The man who steals their cart is an excellent example of a roadblock, this man’s actions may literally spell death for the father and his son. The father responds by tracking the man down and preparing to execute him, but instead leaves him alive, demonstrating that despite their prolonged ordeal, the father still wishes to model compassion for his son.

Antagonists provide adversarial opportunities for our protagonists. We use them to generate conflict for the main characters. Antagonists are often the evil villain, such as the White Witch in The Chronicles of Narnia or Mrs Trunchbull in Matilda.

Don’t Neglect Your Secondary Characters!

As we’ve seen, secondary characters play a vital role in fiction. They are the companions, the villains, the ones who offer assistance, or the ones that put obstacles in the way. Without these supporting characters, our stories would feel flat, our plots less exciting, and our main characters less rounded.

Just because they are described as secondary, don’t scrimp on the way you develop these characters. Make them believable and ‘real’ and they will really help to make your work leap off the page and keep your readers happy and engaged.

Try making a list of every character in your story. How many of them are secondary? Now take each of these in turn and build a short character profile. You might want to consider their main characteristics. What kind of person are they? What is their role in the story? Are they round or flat, and does that work well? Are they dynamic or static?

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