We’re kicking off our guest author secret sauce series today!
By Elizabeth S. Craig, @elizabethscraig
I’m a real fan of subplots. In fact, subplots are frequently my favorite parts of books and movies. I love to see relationships develop or fail or watch in horror as the protagonist gets thwarted again. Subplots also often show a faster, more linear progression than the main plot (and I’m the tidy sort of person who loves seeing that type of progression.)
So what makes a great subplot? Here are some different things that subplots might accomplish:
Subplots can create complications or a conflict of interest for the protagonist as they try to reach their goals.
Frequently, subplots are relationships between a protagonist and a minor character (for example, in detective fiction, this could be the detective’s private life and relationships, away from work.) Arguments with a teenage child, the collapse of a troubled marriage, or a budding relationship can add either tension or joy to the story.
Subplots could offer a different side of our protagonist and provide him with more emotional complexity and texture.
Subplots can help provide integration of a theme or hook in your book.
If you’ve got a serious book, subplots can provide moments of levity—or vice versa. They can help make your story better-rounded.
Subplots can give readers a feeling of satisfaction in terms of plot progression . . . particularly if the main plot seems to be stalling out or if the protagonist’s goal appears out of reach.
Tips for approaching subplot inclusion:
It’s helpful to have a clear arc with your subplots—as with your main plot. You introduce it, develop it, then tie it up at the end (it’s particularly effective if you tie the subplot into the main plot.)
I like to add subplots in as a separate layer after my first draft is over. Somehow, this helps me organize it better and weave it more seamlessly into the story.
My subplots will sometimes intersect with my main plots in unusual ways—to save the sleuth in a moment of danger, or provide important clues to help solve the case or gain added perspective on the puzzle.
More help online:
Here are a couple of my favorite posts on writing subplots.
The first is from a screenwriting site, Cracking Yarns, and the post is “The One Subplot You Really Need.” Interesting reading and very helpful.
The second is from Writer’s Digest (if you haven’t discovered their archives, you’re missing a great resource.) The post is by Elizabeth Sims: “7 Ways to Add Great Subplots to Your Novel.” In it, she covers different ways of including subplots in your story. A must-read.
Are you a fan of subplots, as a reader or writer? What are your favorite types of subplots to include?
About the Author
Elizabeth’s latest book, Rubbed Out, launches July 2. Elizabeth writes the Memphis Barbeque series for Penguin/Berkley (as Riley Adams), the Southern Quilting mysteries for Penguin/NAL, and the Myrtle Clover series for Midnight Ink and independently.
Writer’s Knowledge Base–the Search Engine for Writers
Twitter: @elizabethscraig
Thanks for hosting me today, Jordan!
Jordan – Thanks for hosting Elizabeth – she’s so talented!
Elizabeth – I couldn’t agree more about the interest that sub-plots can add to a story. One of the things I like about them is that they can add depth to a character or a setting. We see another side of a character as the sub-plot unfolds. For series writers, I like the fact that sub-plots can allow for story arcs that link the various books in a series. I would say the only consideration I have with sub-plots is that I like them best when they have something to do with the main plot. It’s harder for me to enjoy a sub-plot that feels as though it’s happening to completely different characters in a different story.
Margot–I like showing other sides to the characters, too…and you’re right–it needs to enhance the main plot in some way or it just adds this sense of fracturing to the story. As a reader, I do love subplots that add story arcs to a series…as a writer, I do tend to stay away from them, though, since I’d like me books to be read out of order if the reader decides to.
The relationship with a minor character is a favorite of mine. I don’t actively plan subplots, they just seem to appear as I develop the characters.
Alex–Even better! Makes it more of an organic inclusion.
Great post! I especially love subplots in murder mysteries. The thought of trying to weave in a 2ndary plot AFTER writing the draft scares me half to death though! Terrifying! I’m so impressed you can do that!!!
Jemi–Ha! Just shows how each of us develop our own methods….and whatever works is what we should go with!
A topic I was completely missing in my first mystery. Yet, it’s so obvious, in a good book or movie.
It’s supreme when the subplot sneaks up and solves the main plot, but without telegraphing the ending.
When Maeve Binchy isn’t being morbidly depressing, her subplots (which read a bit like back fence gossip) are marvelous.
I’m almost done with the first Longmire mystery, and oddly, there’s virtually no subplot. Hints, here and there, of a subplot to run through the whole series, perhaps. But 350 pages of primary plot. That’s hard to do, and Craig Johnson does it well.
Having just finished “The Cold Dish” and paid attention for a change, there are about eleven subplots. Marvelous balancing act, and as desired, two of the subplots create the culmination of the main plot.
Say! Thanks for the mention of my article, Jordan!
I like to think of subplots as threads that need to be woven in. I usually find them as I write, then go back and make sure they show up at frequent enough intervals. And especially, that I tie them up before tying up the main plot. Makes for fun writing.
Barb
They’re a great way of enriching the main story. I don’t add whole new plots after the main draft, but after that’s done, I tend to be able to see what characters and elements should be fleshed out more.