It’s easy when you’re writing to feel like your plot exists in a vacuum. I am writing this piece, and only the things that directly affect my story will make it in because I have the power to cut everything superfluous.
But it is important to remember that characters are fictionalized people. As a person myself, I don’t know about you, but, no matter how important a moment in my life is, there are always other things that need my time and attention. Always. It kind of sucks.
Your characters should feel this tension too, and by enriching their lives, readers will connect more deeply with them. Subplots are the primary resource for this. They can accomplish a lot by
reinforcing your story’s central themes and takeaways
helping readers learn more about their characters
introducing more conflict to carry so many words
The Four Types of Subplot to Harmonize with Your Main Storyline
Mirror – When a secondary conflict echoes the main storyline. In resolving the minor clash, the main character learns a lesson that is used to solve the primary conflict.
Contrast – When a secondary character faces a similar conflict as the lead character. Each makes different choices along the way, and as such they receive contrasting resolutions.
Complication – When the subplot makes matters worse for the main conflict. The subplot must be resolved in order to take on the primary, thereby making it appear seemingly impossible.
Romance – The main character has a love interest, and their relationship complicates the primary plot line. Typically one of these must be lost along the way in order for the book to appear realistic.
Tips for Writing Good Subplots
Keep subplots smaller than your main storyline. Both should be going on at the same time. If your subplot feels like it’s taking over, it might be time to reconsider it as the main plot of your story or else save it for another book.
Give your subplots a narrative curve. Just like your main plot, a subplot should have exposition, an inciting incident, rising action, climax, falling action, and some sort of a resolution.
Move competing subplots off-screen. Sometimes a subplot’s climax will happen the same time as your main storyline’s. Unless one directly influences the other, consider having it happen “off screen,” and your primary character can hear about it later. This is especially common in the contrasting subplot.
Cut disconnected subplots. If your subplot does not in some way add to the larger storyline, it’s doing your manuscript for a disservice. If your undying love for it is making that hard, spin it off into another story instead!
Use subplots as a device of pacing. Don’t try to jam a several-scene subplot between moments in your overall story. Subplots are especially useful to make a book unputdownable if placed correctly. By interspersing their scenes with your main story, they allow you to take a break when things are heating up, which sends readers into a frenzy.
When writing a novel, it’s a good rule of thumb to have a main storyline, an internal conflict for your main character (especially important if your book is in first person POV), and two to four subplots. Using too many subplots can create confusion for your readers and make it hard to revise, but creating a rich world with your story nearly necessitates having at least a few.
Comments