Tag Archives: contrasting subplot

Technique

Subplot caveats

This entry is part 5 of 7 in the series Subplots

Subplots can be tricky little devils, eh? If you’ve already determined your subplots are definitely necessary (or you made them that indispensable) and they’re not trying to take over your story, here are a few things to look out for when using a subplot.

subplots series. Photo by Pacific Northwest National Laboratory

Mirroring subplots

When using a subplot to mirror the main character’s journey, one danger is to make the subplot superfluous by too closely mirroring the main plot. A second identical plot doesn’t add anything to the book.

Fix it: Brainstorm ways to differentiate the plots, such as:

  • How can I show something unique about the main/secondary character through this subplot?
  • How can I refine or clarify the main plot/theme through this subplot?
  • How can I foreshadow the main plot without giving it away in this subplot?

With mirroring subplots, however, it’s also possible to go too far the other direction. Remember that the purpose of a mirroring subplot is to reinforce a part of the main story: the character’s internal journey, the external plot, characterization, etc. If we mirror that piece of the main story, but cast it in a contradictory light, we’re undercutting our main story instead of reinforcing it.

For example, if we’re mirroring the main character’s arc, but the secondary character does the “wrong” thing, refuses to grow, we can’t reward them by giving them what they want. That doesn’t show the main character that their path to growth is a good thing!

Contrasting subplots

A contrasting subplot shows the opposite sort of progress, growth or change as the main plot—for example, a secondary character exhibits the same weakness as the main character, but refuses to go on a journey to growth like the main character does.

To make sure this works in your subplot, be sure that:

  • The secondary character’s weakness is the same as or highly similar to the main character’s.
  • The secondary character does not go on a journey to growth, despite having the same opportunity.
  • When the secondary character refuses to grow, she reaps negative consequences.
  • The ultimate outcome for the character is negative.

This way the contrasting subplot reinforces the character’s arc.

Complicating subplots

When your subplot is affecting the main character, but the secondary characters aren’t growing or changing, you may have a complicating subplot. Personally, I’d double check to make sure you really want a complicating subplot rather than a mirroring or contrasting one, since those add extra depth.

One of the major dangers of complicating subplots is appearing superfluous. Make sure that your characters really affect the main plot and main characters, and nothing else could do the same job.

Conversely, you could be making your secondary characters or subplot work too hard—if they’re the only thing that propels the main plot or the main character, that could indicate a proactivity problem with the main parts of your book.

Meddling secondary characters are great for creating conflict in a book. But if your secondary characters are coming out of the woodwork to resolve all the main characters’ problems—without the protagonists really working for them—it feels like the main character is relying on a deus ex machina for resolution, rather than learning, growing and becoming a stronger person. And which of those would you rather read?

What are other common dangers of subplots?

Photo credit: Pacific Northwest National Laboratory

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Technique

Types of subplots

This entry is part 2 of 7 in the series Subplots

There are lots of ways to do a subplot. The three basic types I’m outlining today are all designed to help make your story more interesting, more on-theme and more . . . better.

Mirroring subplots

Mirror Reflection Fork - B&WLast week, we defined subplots as “a part of a story that shows some sort of progress, growth or change, but isn’t the main plot of a story.” A mirroring subplot mirrors the main action of the story in an important way—but it doesn’t completely duplicate the main plot.

One common example of this might be in a romance, to have two secondary characters also falling in love. They might face a similar obstacle to their Happily Ever After as the main couple, and maybe they’d be able to offer advice and help along the journey.

Contrasting subplots

A contrasting subplot shows the opposite sort of progress, growth or change as the main plot—for example, a secondary character exhibits the same weakness as the main character, but refuses to go on a journey to growth like the main character does.

One important thing to remember here is that to not undermine the main character’s arc, the secondary character should reap negative consequences for failing to grow. This contrasts the main character’s benefits of growth, and thus reinforces that subconsciously to the reader.

Complicating subplots

These subplots don’t show growth, but do represent change. These subplots aren’t necessarily complete stories in and of themselves, but they intersect with the main plot in very important ways, so much that they’re inextricable from the main plot.

If it’s a subplot where one of the main characters plays a role, perhaps it’s an important task they must accomplish on their question: obtaining a liquor license for their dream restaurant, maybe. The clerk at the state office is not only recalcitrant, but starts a whole new series of problems (assuming starting the restaurant isn’t the main plot of the book, of course. Then this would probably be part of the main plot).

However this subplot intersects the main plot, it changes the character’s trajectory. The subplot may not relate directly to the theme of the book like the mirroring and contrasting subplots. It may just cause problems. Meddling secondary characters—even if they’re trying to be helpful—often fall into this category.

Iceberg

Subplot subtypes

The content of the subplot also constitutes an important “subtype.” A romantic subplot, for example, focuses on the development of a romance. There can be mystery subplots, coming of age subplots, subplots dealing with the character’s professional life or personal life or vendetta—the sky’s (almost) the limit.

A few “genres” don’t fit into subplots well. It’s hard to do an adventure subplot, i.e. an adventure story only told as a subplot, because adventures tend to be quite large, and can easily overtake the main plot of a novel.

What do you think? What other types of subplots have you seen or written?

Photo credits: Mirrored fork—zeevveez; Iceberg—NOAA’s National Ocean Service

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