Author Guest Post with Paul G. Wright: Line of Sight

It is 1995, and intelligence operative Lora Chandler, a.k.a. Agent Vogel, is tasked with investigating the claim that Professor Simon Blackmarr has cracked the invisibility problem.

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Author Guest Post

When a Minor Character Steals the Spotlight

One of the most accurate depictions of the writing process—and particularly the way characters come to life—is found in the unsung movie The Man Who Invented Christmas. If you’re a writer and haven’t seen it yet, you should. It perfectly captures two exasperating truths authors struggle with. At one point, the frustrated Charles Dickens explains, “If you get the name right, the character will appear.” As he finally utters the name “Scrooge,” the miser materializes in his study and begins speaking to him.

Like Dickens, I experienced the uncanny moment when the perfect name breathes life into a character. But in my case, the process didn’t stop there. My character, Shade, wasn’t content with being a minor player. She had other plans.

The novel I was writing—a spy thriller entitled Line of Sight—was firing on all cylinders. My lead character, Agent Vogel, had a strong name, and things were clicking into place. Then I found myself needing a minor character to move the action forward.

Like many writers, I keep a mental “box” of names I want to use someday. Rummaging through it, I pulled out “Shade.” It was mysterious, unconventional, and carried just the right air of intrigue. Perfect for a spy. I typed the name, and in that moment, Shade stepped into the room.

I saw her clearly in my mind: an attractive woman in her early thirties with shoulder-length chestnut hair, a slightly crooked mouth, and a sharp intelligence in her eyes. Dressed in a charcoal pantsuit, she carried herself with a confidence that bordered on defiance. Just what I needed to lure Vogel into the master criminal Malachai’s lair. Her backstory didn’t matter—she was a minor character.

Or so I thought.

What I didn’t realize was that I’d gotten the name right.

As I continued writing, I found myself needing another minor character. Agent Vogel had been captured and was plotting her escape. Then inspiration struck: “What about Shade?”

This decision opened a door I hadn’t anticipated. Vogel confronted Shade, and in doing so, uncovered her backstory. Through a flashback, I learned how Malachai had manipulated Shade into working for him against her will. Suddenly, Shade wasn’t just another henchman—she was a woman with her own motivations, trapped in a web of betrayal, and searching for a way out.

I thought that would be the end of her story. Vogel would help her escape, and then move on to stop Malachai’s plan to destabilize the global powers. But Shade refused to dissolve into the background. Her presence lingered, weaving its way deeper into the narrative. It was then that I realized the truth: Shade’s story wasn’t just a subplot—it was the heart of the narrative.

What made Shade so compelling was how she contrasted with my protagonist. Agent Vogel was everything you’d expect from a spy—cool, calculating, and no-nonsense, much like Lauren Bacall in her prime. But Shade was the shadow side. Brooding, sultry, unpredictable, and occupying a morally gray area. As a foreign agent based in the fictional country of Kaskaria, she could say and do things that Vogel couldn’t—and that gave her a kind of freedom.

In many ways, Shade became my anti-hero. Her brush with darkness made her more complex—and more interesting to write. It reminded me of how, in Star Wars: A New Hope, we root for Luke Skywalker, but are fascinated by Han Solo. Anti-heroes like Shade bring depth to a story. Their flaws and contradictions make them relatable, even as they challenge the protagonist and the reader.

Writing Shade’s character taught me a lesson that I think every writer needs to hear: listen to your characters. Outlines, notes, and preparation are valuable, but sometimes a character will speak to you in ways you don’t expect. Often, they’re trying to show you something important about your story, or even about yourself.

Shade showed me that even minor characters can hold the key to the narrative’s emotional core. And because of her, the story became something richer. Her presence didn’t just change the course of the narrative—it deepened the stakes. We were no longer dealing simply with good and evil. We had moved into redemption, trust, and the blurred line between right and wrong.

So, when a minor character insists on being heard, let them speak. They might just show you something you didn’t know you needed.

Paul G. Wright

About the Book

Line of Sight
by Paul G. Wright

Published 1 December 2024
BWL Publishing Inc.

Genre: Mystery
Page Count: 225
Add it to your Goodreads TBR!

It is 1995, and intelligence operative Lora Chandler, a.k.a. Agent Vogel, is tasked with investigating the claim that Professor Simon Blackmarr has cracked the invisibility problem. A mission that leads her back to the half-forgotten beach town of Lancaster, Florida. Home to estranged love interest, and newspaper reporter Richard Davis. Her feelings for him have never really died, and matters become even more complicated when Vogel learns that Blackmarr’s breakthrough is legitimate. A scientific discovery that —in the wrong hands — could alter the balance of global power. The stakes become even higher when the professor is abducted from the university, forcing Vogel back into the shadowy realm of espionage to find out who and why. It will take all the skill and cunning Lora Chandler possesses to stop a threat that could have devastating consequences for her personal life — and the world at large.

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Excerpt

Professor Simon Blackmarr was a modest man who did not enjoy giving lectures. He never quite knew what to say and needed everything written down. His notes frequently got jumbled and he tended to lose his place, often leaving him searching through papers in the middle of an important point.

Giving speeches was not his strong suit and he preferred the classroom, where he could dialogue with his students. Or better still, the laboratory, where he could focus his attention on solving a single problem. No distractions, no interruptions, just the work. Time would simply melt away.

Unfortunately, the university required these talks. Once a semester, he was expected to give a detailed account of his research and report his findings. It was as dull for him as it was for the poor souls who attended. Turnout was usually sparse—just faculty and those students currently taking his classes. Occasionally, some of his peers dropped in, and now and then a few curious civilians, but not much more.

Tonight, promised to be no different.

He’d made an interesting discovery that could have some unique applications, but it was still in the earliest stages. Further research and further testing were required before a final analysis could be reached. Which was why he disliked mentioning it.

But it was required.

Simon sighed as he looked over the handwritten pages and adjusted his spectacles. He could be home watching TV now or taking a walk. He stood in the wings as Dr. Stewart introduced him. Dr. Stewart spoke in a stiff monotone and was shaped like a pear. Blackmarr didn’t care for her. She waddled when she moved and was never satisfied with any answer you gave her.

“And now without further ado,” wheezed Stewart. “Professor Simon Blackmarr.”

He looked upward and winced. On with the show.

About the Author

Paul G. Wright is a native of Atlanta, GA. He has worked as a newspaper journalist, freelance writer, and screenwriter. He studied acting at the Warehouse Actors Theater and earned his degree in filmmaking from Columbia College Hollywood, in Tarzana, CA. He currently resides in the Atlanta area with his wife and their cat Dusty.

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