Making Minor Characters Memorable

THE DOWNSTAIRS GIRL by Stacey Lee

Cover design by Kirin Diemont and Eileen Savage (Putnam, 2021)

Stacey Lee’s The Downstairs Girl has been on my TBR list for a long while, and I am so glad I finally got around to reading it. I actually listened to this on audio, narrated by Emily Woo Zeller, and ended up rereading it in print for a several of reasons: there is a lovely balance and weaving of  plot and subplots, it’s a fantastic example of how historical fiction can feel relevant, and there are beautiful moments of writing craft. 

Quick summary: Jo Kuan wants to make something of her life, but her options are few given she’s a young Asian woman living in Atlanta during post-Civil War Reconstruction. She works as a lady’s maid by day, and by night she writes pseudonymously as “Miss Sweetie”, the author of a newspaper advice column for women. When her column becomes unexpectedly popular, Jo uses her voice to prompt her readers to question societal customs and norms regarding gender and race, even at the risk of her identity being discovered. When her secret identity puts the interests and safety of others at risk, Jo must decide if she’s going to hide in the shadows forever to take a chance and boldly stand for those she cares for.

This novel is historical fiction at its best: it depicts an interesting time in history from a fresh perspective, it has universal themes of identity, personal ambition, and the meaning of family. It encompasses a mystery, has a light romantic thread, and a big horse race! The dialogue is snappy, and the voice is clever and witty, particularly when Jo is writing as Miss Sweetie.

THE TREASURE

One of the many sparkling gems is the way Lee introduces and characterizes secondary characters from a first person POV. It can be tricky to introduce secondary characters in 1^st person because one does not typically launch into mental descriptions of another person when one first meets them. It’s unnatural. And yet, it’s necessary to do in order for a character to stick in a reader’s mind.

About two-thirds of the way into the novel, we meet Mrs. Burris, the head (“top hat”) of the Atlanta Suffragists. Jo is attending one of their meetings, and it’s clear that she is not welcome due to her ethnicity. Here is how Jo describes her:

“The top hat has a teapot face, with cheeks that are starting to droop above a doily of a collar, and a nose that tips up at the end. A nervous energy surrounds her, like the teapot is kept at a high simmer. . . .

 “Before the teapot begins spouting, I incline my head. ‘I am only here to help where I may, ma’am.’”

In just a few sentences, we completely understand not only what this lady looks like, but the way she affects the room around her, and her emotional state. The visual of a teapot is apt for the time period and also Jo’s character, who as a lady’s maid often serves tea. It serves to bring an active mental image to mind. We do not meet Mrs. Burris again for another 100 pages, and such a minor character may be hard to remember. But when we do meet her, this is how she’s described:

“The Atlanta Suffragists’ chant falls off, and Mrs. Burris’s teapot face looks like it’s gathering steam.”

In one quick sentence, we are reminded of who this lady is, where Jo met her last, and how this lady feels about Jo. The description also sets up approaching conflict: if she’s gathering steam, what’s she upset about and what is she going to do about it?

This is not accidental writing. This writing demonstrates that the highest level of craft treats even the most minor of characters with care and intention. It is this kind of writing that elevates a manuscript from the masses because this author knows that every sentence counts.

As you revise, look to your secondary and minor characters. If they’re necessary, how do you describe them? Is it in a manner that feels natural for your POV character? Does it reflect the story setting/world? Is it visually or emotionally evocative so as to make the character appropriately memorable? Does your description of the minor character serve to advance the tension or the plot or to develop your protagonist and their relationship to them?

Make your minor characters serve your story by making them memorable!