Does Your Story Have Too Many Characters?

People love stories because of the characters in them. However, just as folks will often lambaste Tolkien for going on and on about the leave on his trees, I'd suggest there's a lesson we could learn from another big name in the fantasy genre. Because for all the good things one can say of A Song of Ice and Fire, perhaps one of the biggest issues that Martin puts on display is that when you expand your cast on every other page, you really dilute the interest of your readers.

In short, every story needs character. However, too many characters will make it impossible for your reader to see the forest for all the trees in their way.

Because it's really easy to confuse your audience if you aren't careful.

Before we get into it this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron!

Lastly, to be sure you're following all of my followables, check out my LinkTree!

How Big Does Your Cast List Really Need To Be?

Let's return to Martin's less-than-complete opus for a moment. There were a lot of changes made when adapting the books to the screen, but one of the more notable ones was eliminating minor characters from the story entirely, and combining different characters together as a way to boil down the number of names and faces the audience was expected to keep track of. It made for a smoother flow, and it was easier to digest the narrative that way.

If you can prune your character list by dozens of names and events, though, that really should leave you asking why you had so many characters in your book to begin with.

Though if they're going to be dying every other chapter, you may need them.

Generally speaking, characters need to serve a purpose in your story. Sometimes that purpose is a linchpin role (like the main antagonist, your protagonist or protagonists, etc.), and sometimes it's a supporting role (the witness who drops a clue in the detective's lap, the spunky sidekick who helps out, the oracle who provides the prophecy, etc.), but everyone has a role to play.

If a character doesn't really have a role to play, it's best to think of them as an extra.

For those not familiar with how movies are made, extras are all the fill-in folks in the background in film and TV. Those are the people filling up a café where the spy meets with the hacker to discuss stolen information, or all the people walking down the street before our hero comes pelting around the corner being chased by a tank. They're necessary to the scenes in question, but they aren't a part of the cast in a story sense. They are, if anything, like a living part of the set design. While you might find an occasional extra with a speaking line (like the waitstaff who take one's order in a restaurant scene, or nameless reporters firing questions around a murder investigation) they are still more a part of the background than the story.

When we're discussing whether your story has too many characters, these aren't usually the characters we're talking about... except when they are.

We Don't Need The Backstory on Every Tree Branch

When we introduce important members of the cast we usually give the reader a bunch of details about them, along with more information than they get about other characters. We get a full description, a name, maybe see things from their perspective a little, stuff like that. And while academically we know that every person is the main character of their own story, if you treat too many members of the cast like they're main characters in this story you're going to overload your audience.

Wait... why is Gerald Finn, the Gate Captain with the iron hand, important again?

Look over your story with a critical eye, and ask how many characters actually serve a narrative purpose. Great or small, you should be able to tell us what part of the story pocket watch they represent, and what their job is in the narrative. Even if it's something as small as, "Humanize the main character by showing their relationships outside of tracking down serial killers," that's still an important purpose.

But if the character doesn't have an important role, ask what happens if you scale back their involvement in a scene. Does it change anything? For example, do we need to know that Suzy Delgado is working a double at the diner, she's very stressed, but she's trying to keep a brave face? Or is that information just being dumped on us while Sly Goodman and assassin Alicia Carmine have a meeting, only involving Suzy when they want to order black coffee and some scrambled eggs before getting down to the nitty gritty on their current job?

What happens if you eliminate a character from the story entirely? Does that have any effect on the narrative at all? Because if their presence makes no impact on the story, shows us nothing about the rest of the characters, and serves no function, then you may be able to kill that particular darling without worrying about getting too much blood on your typewriter.

As the author, think of yourself as the head of stage lighting, or camera direction. You are the one who tells the audience where to look, what to pay attention to, and what is important. If you try to show the audience everything, though, you're going to end up with them paying attention to the wrong things, or getting bogged down in details that may confuse your story rather than clarifying it.

Like, Follow, and Come Back Again!

That's all for this week's Craft of Writing! For more of my work, check out my Vocal archive, or at My Amazon Author Page where you can find books like my sword and sorcery novel Crier's Knife, or my most recent short story collection The Rejects!

 

And to stay on top of all my latest news and releases, collected once a week, make sure you subscribe to The Literary Mercenary's mailing list. 

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!

If You're Going To Cons as an Author, Wear a Hat

For those of you who aren't in the Chicagoland area, I was at Capricon two weekends ago. It's a convention that I love, and that I would highly recommend any sci-fi and fantasy fan attend. And like most Capricons, I found myself on half a dozen different panels, shuttling between readings and room parties, shaking hands and passing out business cards.

One panel I was on in particular stuck with me, though, and it was all about being a professional author. It was almost my first hall panel (when the panelists and attendees are there bright and early, but the hotel staff hasn't opened the room yet so you just start lecturing your gathered audience in the hallway). I was seated next to the very talented Jonathan P. Brazee, and we shared the space with authors like Tim Akers, as well as K.M. Herkes. And while we were all talking about what it takes to hand sell books, how to hustle, and how we got into writing professionally, we all simultaneously stumbled on one of the great secrets of standing out at a convention when you're an author.

You need to wear a hat.

No, seriously, do it.

No, This Isn't a Joke

Take a moment and think of several famous authors you can actually identify by sight. George R.R. Martin is one, but so is Sir Terry Pratchett. If you're a fan of unique cyberpunk, you might also think of Megan Mackie, author of the The Finder of The Lucky Devil. All of these folks might be known for their talent and skill with words, but they're recognized for their iconic headgear. And when you're at an event that will have between 1,500 and 50,000 people (depending on the size of your preferred convention) you need something that will let people identify you at a glance.

Maybe you've seen this handsome bastard around at shows, for instance?

For those of you who've never met me in person, I picked up that green leather beret for a song at a Renaissance festival about 7 or 8 years back. I started wearing it to cons mostly just so I'd get some use out of it, but also to play into the whole Literary Mercenary angle. And the point at which I really stepped back and realized how closely people associated it with me was when I was at Gen Con about three or four years ago.

Let me paint the scene for you. Gen Con was swollen to a fresh capacity, drawing roughly 60,000 attendees. There were hordes of fellow gamers, and a small army of professionals trying to keep the wheels turning. I was all over the dealer's room, and making my way into the Ennies with the intent of shaking a few hands and maybe getting a new job offer or two. At the end of that convention, not one person remembered my actual name. But more than two dozen designers, writers, and RPG professionals immediately recognized my hat, and remembered that I was the Literary Mercenary. Even if we'd just had a quick 10-minute conversation the day before, they remembered my beret, because not one other person at the whole con had one like it.

That one piece of information, and the name associated with it, was all it took. Because if you type my handle into Google, you can find my real name, and an email to offer me a job. Some did, and all because of that one, strong impression.

Crown Yourself

Why are hats (or in the case of K.M. Herkes, an eye-catching shade of blue hair) so effective? Well, it's generally because hats stand out. In addition to being something you instantly notice, a hat can be seen from a distance, and if your hat is unique then it will also be lumped in with your persona as an author.

Fortunately, a good hat can also last a very long time. So if you've got something that would make you easier to remember, don't be afraid to pop it on your head and stand out from the crowd. Because before someone can read your book, they actually have to notice who the hell you are.

Like, Follow, and Stay Tuned!

That's all for this week's Business of Writing! If you'd like to see more of my work, take a look at my Vocal archive, or at My Amazon Author Page where you can find books like my sword and sorcery novel Crier's Knife as well as my recent collection The Rejects!

If you'd like to help support my work, then consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page! Lastly, to keep up with my latest, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well!