On my trip back from Utah the other day I read George P.
Pelecanos's
"Shoedog" on the plane which has a single protagonist and
several supporting/influencing characters with switching
perspectives that add depth to the story without detracting
from the protagonist's tale.
"Shoedog" provides a textbook example of how to do it right.
Being able to pull this off is a sign of a good writer in my
book, it's a skill that should be honed even if one's
preferences are for other forms.
That's not to put all of the weight on the author's shoulders
though, not all readers are skilled enough to keep up with
things or their time to read is limited with too much down
time for the book in between. No author, no matter how good
they are, can make up for poor memory skills in their reader
or any other failings their reader may have.
A lot of "buddy" books tend to have two protagonists who in
reality are just the alternate sides of a coin (when the
characters lack depth beyond their roles, that's when the
author has failed). The internal conflict of the single
protagonist is carried out externally through the
personalities of the two. Robert Andrews's "A Murder of
Honor" tales a good buddy tale.
Do any of y'all think this is the goal of a "buddy" book or a
definitive? "The Sweet Forever" is a buddy book, but I see it
more as a two roads diverge in the woods than alternating
personalities.
-- Anthony Dauer Alexandria, Virginia
Sweet Revenge Short Crime Fiction Contest
http://www.adau.net/judas_ezine/contest/
-----Original Message----- From: owner-rara-avis@icomm.ca Sent: Saturday, January 19, 2002 9:36 AM
I agree with Neil Smith. I have trouble keeping track of too many secondary characters, and two protagonists too often leads to the partner/sidekick formula. I do like S.J. Rozan's spin on things: partner PIs who alternate as main protag with each book.
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