I’ve been revising my WIP for some weeks now. I have a lot of work to do yet—my last chapter is 15,000 words. Bad! There’s no escalation whatsoever from my last turning point to the end. Also bad. I’ve got a Dark Night of the Soul that’s written essentially as “Gosh, bummer.” (That would be my inability to write conflict.) I’ve got a final climax and triumph that’s essentially “Gee, great.” (That would be my inability to write anything, evidently.)
And now, I’m pretty sure I have to delete Helga.
Helga is the girlfriend of my antagonist, and she gives him depth. He’s crazy about her (in a good and healthy way, I hope). He calls. He writes. He buys her little presents. He’s texting her when he should be thinking of villainous things to do to the protagonist.
Helga reciprocates. She’s so worried about my antagonist that when she’s sure he’s gone off and done something stupid and wrong and just plain dangerous (good head on her shoulders, that Helga), she goes after him to dissuade him from whatever dastardly course he’s set on.
I like Helga. She’s focused and determined, cynical and practical. My critique partner wrote in one paragraph, “Love Helga!”—but then just one paragraph later, “I’m losing interest in this scene, and I don’t know why.”
I had to agree with her—I’d lost interest in that scene, too, and all the other scenes with Helga. Where was my protagonist? Antagonist? My hero? When were my heroine and hero going to kiss, for pete’s sake?
Helga has to go.
I read a dumb-ish article the other day about the 10 elements a good movie must have. Number three was “sense of camaraderie.” I realized that’s the first reason Helga has to go. She’s not part of the community. She’s not central to the story. She doesn’t come in until half-way through (nor should she), and at that point it’s too late to become part of the Scooby gang.
The other reason, and it’s probably the same as the first reason—she’s just not that central to the plot. What she does is peripheral. That doesn’t have to be bad, but secondary characters should interact meaningfully with the major characters, or (and) they have to reflect the story ideas, themes, or motifs.
Helga doesn’t do any of that.
It’s hard to say goodbye. Besides that I like her, and she occupies a fair amount of space—in the 5K–7K word count, maybe more. I’ll have to make that up somewhere. Not to mention the transitions I’ll have to write to cover her tracks.
But revising Helga to be more relevant, useful, and major isn’t the answer. I think the way to go is to delete her (sorry, Helga! Maybe another time) and build the action and consequences of my major characters. (Note to self: we’ve got a really lousy Dark Night of the Soul to improve and expand.)
I could be wrong. I have a long road of revising ahead of me, and I might change my mind. But right now, I’m thinking that Helga has to get off the bus.
We have to make room for the passengers who really count.