How To Write Subplots

What Is A Subplot?

Subplots are the secondary stories that run parallel to the main plot of a novel. They add depth and complexity to the overall narrative, enhancing and diversifying the reader’s experience and providing fresh perspectives on the central quest.

Whether it’s a single supporting subplot or a multitude of interweaving stories, they should always complement the main narrative, even if only to add depth to the central themes or creating the atmosphere. (And I would advise against even this: it is better for it to directly support the main plot and character.)

Careful planning and integration of subplots can transform a simple story for the reader. For the writer, working it out in advance will save you a lot of rewriting later but also allow the main plot to develop in full knowledge of how its subplots work.

Subplots take many forms, depending on the main narrative and the genre. Common types include:

1. Romantic Subplots: This is probably the most enduring subplot, a relationship that develops alongside the main story. In some ways, you can say the romantic subplot is actually the real story, but I would always try to keep it conceived and managed as a subplot – unless the romance is the beating heart of the narrative.

2. Philosophical Or Personal–Growth Subplots: A character’s journey of self–discovery, education, moral or philosophical growth, often complementing or supporting the main narrative; for example, an aged mentor training a boy who has found out he has magical powers in order to rescue the kingdom he has just inherited.

3. Secondary Conflicts: Other conflicts that still impact the main characters or story. For example, in a historical novel, a bitter rivalry between a president’s two allies distracts him from the political crisis overwhelming the country, and when it becomes violent, makes things in the main plot worse.

4. Back Story: Unveiling a character’s past in a back story in a way that impacts or explains aspects of the present narrative, either in revealing a secret or a character’s true psychology.

5. Parallel Stories: Stories that reflect or contrast the main plot, highlighting themes or character traits. These can be used very loosely, almost separately, from the novel, but this is technically a very difficult thing to achieve. Approach with caution.

When Should Subplots Start and Finish?

Subplots should ideally start after the primary plot is well–established, typically at the end of the first act or at the beginning of the second, ensuring that the reader is grounded in the main narrative. They can weave in and out throughout the story, but should typically resolve before the Climax of the main plot in Act Three. Classically, subplots resolve towards the end of Act Two, clearing the way for the Climax itself. Often a subplot can resolve in a way that makes the despair that follows more intense, for example, the death of a secondary, trusted character.

When we look at Classic Novel Structure chapter by chapter, you will learn much about these aspects of managing and maximizing subplots.

When to Use Fewer Subplots

– Shorter Novels

– High–Paced Genres (Thrillers, Crime, Romances)

When to Use Multiple Subplots

– Epic Novels And Longer, Complex Novels (Fantasy, Literary, Historical)

– Character–Driven Stories

Should Every Novel Have a Romantic Subplot?

Not every novel requires a romantic subplot. They should only be included if they naturally complement the main story. However, it has to be said that a romance in novels which are not primarily romances are a tried–and–tested way to add drama and emotion, and to commit and engage the reader. Very many novels have some kind of love–based subplot. There’s a reason why most novels have one: they work and readers want and even expect it.

However, in genres like thriller, horror, or certain types of science fiction, a romantic subplot may feel forced or alternatively be used as part of a twist. It was the detective’s new boyfriend who turned out to be the killer all along!

Very importantly, you should also decide how intense or explicit you want your love/romance subplot to be. Some people are just not comfortable writing about sex and sexuality. However, remember this: understanding the sexual lives, thoughts and desires of your characters can be incredible tools for communicating their character to readers. It is up to you to work out what is comfortable for you and what is right for your market.

Consider how the romantic subplot serves the development of the characters and also how it interacts with the main plot, i.e. the Quest. The relationship should either challenge the protagonist or help them grow positively. A romantic subplot allows the central character to explore vulnerabilities and to have someone to rely on (it is most interesting when the love interest is not bland or sappy but smart and active). Plot points in the Quest can certainly derive from the ebb and flow, or even end, of the romantic subplot.

How Many Subplots Should There Be?

There is no one answer to this. The number of subplots depends on a novel’s length, complexity, and genre. A shorter novel might only need one well–developed subplot to keep the main story clear and propulsive. In contrast, in a longer, more intricate novel, numerous subplots might be good, enriching the narrative with diverse perspectives and thematic depth.

A new writer might want to remember that managing subplots is not always straightforward. All subplots have their own arc and usually will need to be resolved in some way, very often around the same stage of the book, at the end of Act Two and beginning of Act Three. Therefore it is probably wise to have just one or two subplots in your first serious attempt at completing a whole novel.

However, using Classic Novel Structure and the Master Document will provide you a layout and a tool for checking where you are with all your subplots, when you need to introduce and wind them up, and how to get them to interrelate with your main plot, which is the Quest.

How To Manage Subplots

– Each subplot should have their own arcs, resonances, or narrative development without ever threatening reader interest in the primary plot and its characters.

– Introduce subplots at established points (we will cover this later) and allow them to unfold alongside the main storyline but resolve before that does (again, covered later).

– Subplots should satisfactorily contribute to the overall narrative or thematic resolution of the novel and so become part of the novel’s fabric and complexity.

How Do I Tell Which Is My Main Plot and Which Is A Subplot?

Sometimes people are unclear where the main plot ends and the subplot begins.

Main Plot (The Quest)

– It’s the heart of your novel, its primary focus, your protagonist’s journey or conflict.

– It’s the line that propels the novel forward. Without it, the novel wouldn’t exist.

– The main plot is the central dramatic conflict that is resolved at the end of the book.

Example: A young woman suspects a fraud scheme in her corporate company and decides to investigate it—this is your main plot.

Subplot

– A narrative line that runs alongside the main plot, following a relationship or smaller conflict.

– Subplots add layers to your story, or mirror or contrast the main plot, but they’re ultimately not essential. They could be cut and the novel would still exist.

– A subplot can impact the main plot but doesn’t determine its outcome (even if it is used for the resolution, it could be swapped for a different subplot and the story would still work).

Example: The young woman investigating the fraud falls in love with a journalist who helps her uncover the crime. This hugely impacts the Quest, but you could rewrite this novel with a different structure and it would still exist. Therefore, the subplot is not essential to the novel’s outcome.

Here is a failsafe structure for subplots you can use in any novel:

Act One: Set up the Quest - subplots are not present or just hinted at (or characters for subplot introduced)

Act Two: Fun & Games – Subplots Begin/New Allies, Lovers, Enemies Emerge

Midpoint – Subplots Impact Main Plot (Golden Time)

Late Act Two – Subplots Peak And Resolve As The Quest (and threats to it) Heighten

Act Three: Resolution – Subplots Recede - Focus On The Quest from here

This is an excerpt from How To Write A Novel Chapter By Chapter available here: https://www.amazon.com/How-Write-Novel-Chapter-Outlining-ebook/dp/B0DJ8TMVWL?ref_=ast_author_mpb

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