Internal monologue, action, and dialogue may reveal character, but how far can the writer allow it? Most of us are familiar with this Aristotelian maxim: Knowing yourself is the beginning of all wisdom. It is a question worth applying to fictional characters. In the application of reality, the protagonist must have awareness limitations. He is not alone in moving into a world created. He interacts with other characters with the same limitations as himself, and these limitations allow them to interact consciously and subconsciously, allowing the reader to know something that they do not. What the main character doesn’t know wouldn’t hurt him and in fact, would help the reader gain more insight into motives. This is where the supporting character does more than just support.

If the main character is unaware of information that the reader must know, it is up to the supporting character to reveal the information through viewpoint. What the supporting character thinks or says becomes vital information that may or may not add bearing to the story.

Example: A famous mountain climber has scaled the tallest mountains in the world except for the dreaded Mount Waaminifu which is treacherous and surrounded by scary urban myths. The mountain climber dismisses the stories about the mountain. He believes that the mountain’s reputation is only romanticized by locals to attract more adventurers. At the foot of the mountain on the day of his climb, some locals watch him with pity. The mountain climber doesn’t know that a supernatural danger awaits him in his climb.

If the mountain climber is only made aware by myths surrounding the mountain, both the main character and the reader will just expect real-life dangers like limited oxygen, food scarcity, injuries, etc. The writer has made the character aware of the mountain’s reputation but not of the unexpected danger. It is up to the supporting character to gain privileged access to the necessary information to heighten the reader’s anticipation.

Example: A famous mountain climber has scaled the tallest mountains in the world except for the dreaded Mount Waaminifu which is treacherous and surrounded by scary urban myths. The mountain climber dismisses the stories about the mountain. He believes that the mountain’s reputation is only romanticized by locals to attract more adventurers. At the foot of the mountain on the day of his climb, some locals watched him with indifference, and the mountain climber tries to keep a cheerful disposition and ignores their pitying look. One of the locals muttered, “That’s just another fool who will end up as a sacrifice for Popobawa.” His spine-tingling remark made the others gasp. The mountain climber has previously heard rumors about the monster, takes a brief introspection, then dismisses it as more hogwash.

The character remains spunky in facing the mountain because he still doesn’t know the monster is real. But the reader, through the information provided by the supporting character, is given something that will make his tag-along with the protagonist become a bigger thrill. The danger is now part of the plot. Thanks to a supporting character who did more than just support.