I love complex stories. I want layers. More characters, more twists, more subplots. As a result, my stories often end up as thick books. As an over-writer, I have to really scrutinize every part of my stories to see if it really needs to be there. Today, I want to share my take on subplots and what makes them important enough to keep. I did a post a while back on the seven types of subplots, but now I want to get into what makes a subplot good. This topic turned out to be larger than I expected so I’m breaking it up into multiple posts, and this week we will focus on the primary elements that are essential to all subplots.
What Are Subplots?
Before we get into what makes a good subplot, let’s define it. Subplots are smaller storylines that run alongside the main story. Typically, they center on secondary characters, either with their own story or the protagonist’s interactions with them. For instance, a subplot for a mystery can be a detective’s partner solving a secondary crime or healing a rift between the detective and partner. Both center on the partner, but one feels more independent of the protagonist than the other.
Now, while a subplot doesn’t have to heavily include the protagonist, a good one must be connected to the main story and the protagonist’s goal. The conflicts in the subplot should be a result of the main plot or cause a bigger conflict for the main story. They must be interconnected. Subplots are meant to support and not compete with the main plot. They should feel essential and unavoidable. If you can delete a subplot and it doesn’t change the story’s outcome, then that subplot is a detour (not part of the story) and doesn’t need to be there.
The Primary Subplot Elements
Beyond examining if a subplot impacts the core plot, how do we know if our subplot should stay or go? I’ve created a list of nine subplot elements, and four of those need to be present in every subplot in order for it to earn a place in the story (the other five are icing on the cake). Let’s look at these four primary elements that create a good subplot.
1. Plot Arc
Subplots are their own plots. I know that seems very basic, but it’s essential. All eight elements of plot must be present, creating a full plot arc. Does the storyline have a goal, stakes, plan, and an antagonistic force? Is there conflict, decisions, consequences, and shifts? If not, it’s not a plot, and it can’t be a subplot.
Without a full plot, the extra storyline feels like random scenes. Incorporating one scene about the best friend having a birthday party is not a subplot. If it’s not part of the main plot, then it’s just an extra scene to readers. As writers, we get invested in our characters and like showing them experiencing life, but we must restrain ourselves. These might make fun exploratory scenes for writers or maybe even a bonus chapter for readers, but it doesn’t have a place in the story.
2. Main Conflict
Every good subplot must connect to the story’s main conflict. In other words, it must affect the main story’s external plot. If the story is about stopping a terrorist, then every subplot should feed into that. Follow a reporter who gets information the detective can’t. Build a subplot about the detective and his wife so at the end the terrorist can target her and change the stakes. Make each subplot enhance, complicate, or change the main conflict. Make them give new information or perspective on the overall story.
Without this tie to the main external plot, the subplot will feel irrelevant. It may be fun, but it will feel like a detour to the main story. If readers are really invested in the main plot, they will feel a need to rush or even skip the side story just to get back to “the good stuff.” However, if you weave the subplot with the main plot so it feels integral, readers will love seeing the main plot expanded and illuminated by the secondary storyline.
3. Theme
Every story has a theme. It’s the internal plot, the character arc. It lives at the heart of the lesson the protagonist learns by story’s end. Theme is what makes stories feel deep, and layering in subplots that support the theme make it more impactful. Whether it’s contradicting or echoing the lesson learned, every subplot should tie into the main story’s theme. If you’re writing a romance, then add in a subplot about a secondary character’s love story. Perhaps both women have trust issues, but the protagonist overcomes it and accepts love while the secondary character doesn’t. Or, they both get love in the end but learn to trust in different ways. Explore the theme from various angles in subplots so it feels deeper and fuller in the story.
If theme isn’t present in the subplots, they will feel flat. Even if the secondary storyline impacts the external arc, it won’t feel meaningful without the internal side. Without theme, readers will be asking, “So what?” The secondary character may have love in the end, but how did that make her a better person? Without theme, it’s like watching a man play the claw machine until he gets the stuffed animal, then watch him throw it in the trash. Maybe it was interesting to see him struggle and finally win, but it meant nothing. However, if he then rushes to the hospital and gives it to his niece who loves Scooby Doo, it has impact. It says something. Means something. That is what theme gives plots and subplots: meaning.
4. Enjoyment
The last primary element of subplots is enjoyment. Will readers enjoy the subplot as much as the main plot? Not more than, not less than. The same level of enjoyment. If it’s way less intriguing, the subplot will feel burdensome to read. If it feels more interesting, then readers won’t care about the main story. You want the subplot to be just as enjoyable as the main plot, but give it less space on the page. It isn’t the main story so don’t let it take over the book, but make sure readers will care what happens in the subplot.
I know the concept of making a subplot enjoyable feels obvious, but it’s important. A subplot without intrigue or fun will make it feel cumbersome. It’ll be a slog readers have to just “get through” so they can finish the story. They may see why the subplot is important for the story, but they won’t feel pulled into it. If any part of your story isn’t interesting, then readers are tempted to set the book down. So pay attention when you have beta readers point out scenes or arcs they didn’t like. If the subplot can be removed without killing the story, then do it. Otherwise, brainstorm ways to build interest in the subplot.
Final Thoughts
So how do your subplots check out? Is it an enjoyable complete plot arc that ties into the story’s main conflict and theme? If it doesn’t hit all four primary elements, it’ll need to be edited or maybe deleted. Readers want stories that feel full, but not convoluted. Make sure every subplot earns its place in your book. Don’t add them to expand world count or add needless complexity. Simple but full—that’s what you are going for so readers will easily and deeply fall into the story you’ve created. Stay tuned for next time when we talk about the secondary elements of subplot!
Thanks for reading!
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