Julie writes: My biggest problem right now is how to handle secondary characters. How many are too many? How do I keep them from taking over or stealing the scene? How do I keep the reader from being confused by them or, even worse, bored by them! Mine always seem to go overboard, and I have to spend too much time editing them back to size.

Great question. I ran into a similar problem while writing Diva NashVegas. In my effort to create a large, super star world, I created too many extras for my set. So, I paired it down to those who were essential: assistant, manager, house manager and a few others as the scene allowed. This in addition to her love interests.

Here are some guidelines to consider for secondary characters.

1. How does the character show off my hero or heroine? What is their point of being in the story?
2. How do they add to the story? Is the secondary character an antagonist?
3. Allow secondary characters to fulfill mutliple roles. Can a best friend be the antagonist? For example, the best friend doesn’t like the heroine’s choice for a boyfriend, so she fights her.
4. If you’re bored or confused with secondary characters, the reader will be also. Create a cast of characters before writing and figure out who you really need, and what role he/she will play in the story.
5. How do they advance the protagonist journey and thus the story?
6. Can they act as experts or be the keeper of a secret?

Back to Diva NashVegas, I had to eliminate characters like the stylist, booking agent, and other employees. While a touring super star might have a large cast, my fictional super star could not. So, I assumed certain things – like readers won’t really care if I don’t mention her stylist or fitness trainer.

I also used characters that advanced the plot. For example, my country diva, Aubrey, met with her record label to renegotiate her contract. In real life, a recording artist would have his or her manager and lawyer in tow – at least. So, I added those characters to the scene.

Now, Aubrey’s lawyer wasn’t needed in any other scenes, so I didn’t add her. This keep the secondary characters simplified and focused.

Also, let secondary characters reveal back story or act as experts. It would sound corny to have Aubrey explain to her manager how a record deal works, but it sounds perfect coming from her lawyer in the form of questions or informtion. “Here’s where we are in the negotiation.” Or, “What do you want to do with this option?”

Having secondary characters carry around expert or secret information keeps them from being flat or boring.

Think of your own life. Who are the secondary characters? For me, I’d say my husband, my friends Susie, Chris and Rene. My guitar player on the worship team. Now, there are more than these people in my life, but I was writing my story, these are people I might include.

So, keep it simple. You can always add a character if you need to. Also, not every secondary character is one to follow throughout the story. For example, Aubrey attended a party at her future in-laws home. Of course, I had to include her fiance’s parents, and I added set of family friends. This was to create tension and futher Aubrey’s internal conflict of wanting to be a part of a family, but never feeling like she belonged with Nashville blue bloods.

These were not characters that flowed through the story – they were only needed for a scene, to create tension and drive Aubrey to answer questions within herself.

Hope this helps. Keep track of key secondary characters as you read and watch movies.