How to Write Genuinely Interesting Secondary Characters
By Savannah Cordova
We all know a good story needs a compelling protagonist… but a great story demands a whole cast of engaging characters.
Secondary characters are the ones that crop up repeatedly in a narrative and actually influence the course of the story. Unlike with tertiary characters, who only appear in one or two scenes for a very specific purpose, you should know almost as much about your secondary characters as your main character — even if you don’t share it all with your readers. (That said, if your secondary character gains traction, you might get the chance to tell their full story in a spin-off.)
I have three rules for writing genuinely interesting secondary characters. The first and most crucial thing is that each character must serve a narrative purpose. This could mean highlighting a certain attitude or characteristic in the protagonist, , helping the main character grow or offering a contrasting perspective on the theme. If the story wouldn’t be that different without your character, get rid of them — if you have too many secondary characters, readers may find it difficult to keep track of or feel invested in all of them.
Haymitch Abernathy is a secondary character who has just received his own spin-off story, Sunrise on the Reaping. In Suzanne Collins’ original Hunger Games trilogy, he serves as protagonist Katniss’ mentor for the deadly Games. Haymitch pushes Katniss to be more resourceful, withholding life-saving gifts until she puts on an adequate show of affection for Peeta. Without Haymitch’s strategic guidance, “star-crossed lovers” Katniss and Peeta would have gained far less sympathy from the audience and would have been nowhere near as likely to survive the arena, so Haymitch is an indispensable secondary character.
Another popular secondary character from recent years is DCI Chris Hudson from Richard Osman’s Thursday Murder Club series. Unlike Haymitch, Chris is more of a hindrance than a help to the amateur detectives at Coopers Chase Retirement Village. His insistence that police work should be left to the police proves to be an annoying obstacle — but one that contributes to the rising action of the story. Chris also brings out the competitive side in former spy Elizabeth, providing a natural way for Osman to showcase her fiery determination.
One of my personal favorite secondary characters is Herbert Einstein from Jonas Jonasson’s debut, The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared. Herbert first enters the story when he is kidnapped by Soviet spies who mistake him for his much more famous half-brother, Albert Einstein. The complete opposite of a genius, Herbert’s main purpose is to bring comic relief to the novel through his misunderstandings and mistakes — and to contribute to the frequently occurring improbable encounters and coincidences. In an absurdist novel like this, his presence is indispensable.
The second rule for writing engaging secondary characters is that they must be unique. Give your character distinctive quirks in their appearance or behavior — and avoid turning them into a walking trope by exploring not just their immediate goals, but also their deeper desires and motivations. At the same time, be careful not to bore readers or detract from the main narrative by launching into the secondary character’s entire life story. Instead, give just enough information for readers to understand how their past has impacted their present (and maybe whet readers’ appetites for more information in a sequel).
In the original Hunger Games books, we don’t know much about Haymitch’s past. All we ever learn is that his past Hunger Games victory humiliated the capitol and prompted them to murder his family as punishment — which explains why he is constantly drunk. However, Haymitch is also more than just a clichéd alcoholic. He is characterized by a unique blend of cynicism and wit, and cares deeply for Katniss and Peeta in his own way.
Similarly, DCI Chris Hudson is not just a straitlaced policeman. We witness his internal conflict as he is torn between following the letter of the law and catching the murderers through less conventional means. In his personal life, too, he is constantly struggling against himself — every Monday, he does sit-ups in bed and brings a packed lunch, but by Tuesday, he is eating junk food and taking the elevator. Add Chris’ wry observations to his internal conflicts and you have a thoroughly entertaining and complex character.
Herbert Einstein, meanwhile, is memorable thanks to his incredible stupidity and existential despair; he wants desperately to die, but in a series of absurd coincidences, keeps narrowly escaping death. Despite his comedic function, Herbert is given some depth and complexity through a brief overview of his traumatic childhood, in which he was abandoned by his mother and denied by his father.
The third and final rule for writing secondary characters is that they should have their own character arc— although this is often tied closely to the main character’s. The secondary character’s inner transformation can be big or small but should be a direct (and realistic) consequence of the events of the story. Don’t be afraid to leave the character with unresolved problems at the end of the novel — or even give them a negative arc to make a point about your theme.
Haymitch’s transformation is positive, but by no means ideal. He does not overcome his alcoholism, but he does find a renewed sense of purpose as he plays his part in the rebellion. This also mirrors Katniss’ evolution from someone focused solely on survival to someone willing to fight for a better future. The fact that Haymitch never manages to give up drinking shows that nothing can fully heal him — a sad yet realistic truth.
In contrast, Chris’ character arc is overwhelmingly positive (unless you think police work really should be left to the police!). He grows to respect the amateur sleuths and even pool resources with them. In turn, the members of the Thursday Murder Club come to appreciate the benefits of having a friendly relationship with a Detective Chief Inspector. In Chris’ personal life, too, he undergoes a transformation — in an unusual but heartening twist, he begins dating a colleague’s mother, which motivates him to maintain a healthier lifestyle in the second book of the series.
Herbert’s character arc is even more positive. When he meets a woman who is every bit as slow-witted as he is, he finds something to live for and they go on to lead a happy and successful (if rather corrupt) life together.
While these three example characters are all original, add to the plot, and undergo transformation, they don’t steal the spotlight from the main character(s). If your secondary character is more developed or engaging than your protagonist, you’re probably writing the wrong story!
Savannah Cordova is a writer with Reedsy, a marketplace that connects authors and publishers with the world’s best editors, designers, and marketers. In her spare time, Savannah enjoys reading contemporary fiction and You can read more of her work on the Reedsy blog.