Subplots are like mini stories, but they must support and enhance the main plot. That last point often gets overlooked, but it’s very important. If you have a subplot that does nothing to broaden or deepen your main plot, then it’s just fluff you need to delete. Subplots should deepen the conflict, broaden the story scope, add characterization, reinforce theme, build suspense, explain a character’s motivation for the goal, raise the stakes, and vary the tone and pace of the tale. Let’s look at seven types of subplots that will do one or more of these things and enrich your story.
Types Of Subplots
First off, I want to point out that I think every story needs an internal and external main plot line. The character should have to overcome something in the physical world while struggling with something internal that leads to a transformation. These subplot types below are extra story lines on top of those two essential plot lines.
Second, let me clarify what subplot descriptors I’m not talking about in this post. I’m not referencing a romance subplot or a mystery or any other genre related term. To me, those are more styles, the manner in which you write your subplot. It can be comedic or horrific, but those are not subplot types. So what am I referring to then? Read on to see the list of subplot types that I believe can be used in any story.
1. Parallel Subplots
A parallel subplot must have two or more POV characters, and it comes in two varieties: unrelated or the flip side. An unrelated parallel subplot is when a seemingly unconnected plot line is told, but it is tied into the main plot by the end of the book. A flip side parallel subplot is when a secondary character tells their side of the main character’s story but with a different angle.
Both versions mean that the reader is getting more information that will enhance the main plot. The first type will broaden the scope of the story while the other will deepen the reader’s understanding of the main plot. That being said though, the subplot has to improve the story. If the unrelated plot line doesn’t need to be there to have a satisfying ending, then delete it. And if the flip side subplot is just reiterating the main story with no new important details, then delete it. Don’t overcomplicate a plot for no reason.
2. Mirror Subplots
Mirror subplots are when you follow a secondary character’s conflict that resembles the main character’s conflict. The secondary character may make mistakes that the main character can learn from. Or, the main character may find some insight on how to resolve their own conflict by watching the secondary character. The subplot is basically a learning experience for the protagonist without having him go through the try/fail cycle himself (not that he won’t need to try and fail on his own too). Mirror subplots are good for showing the character grow and reinforcing the story theme.
3. Contrasting Subplots
A contrasting subplot is when a secondary character has a similar problem to the protagonist but he makes different choices leading to an opposite outcome from the protagonist. The big difference between this subplot and the mirror subplot is the ending. The characters can’t get the same result. Usually, one will have a happy ending and the other a sad ending, but you can make is more complex than that as long as they contrast each other. This can be a way to explore the story theme by having two characters go after the same thing in different ways. These subplots help reinforce the story theme and show characterization by how the protagonist chooses to resolve his conflict.
4. Bookend Subplots
This type of subplot will take up very little space in your story. A bookend subplot gives the main character a problem in the beginning of the book and then ignores it until the end, when the protagonist has undergone his internal journey and been transformed. By completing that transformation, the character is now able to conquer the initial problem. He’s learned his lesson and is better for it. Bookend subplots can show character growth and reinforce the story theme.
5. Expository Subplots
Expository subplots are when you weave backstories throughout the book in a way that moves the main story forward. I want to caution you to approach this subplot carefully. A lot of backstory is not always looked upon favorably. However, it can be done tastefully in a way that allows the readers to better understand the main character. It can deepen the characterization and also better explain character motivations. If you do this, please make sure that every detail you put in is essential to the main plot.
6. Relationship Subplots
Interpersonal conflicts that complicate the main plot are relationship subplots. These can include family issues, love interest complications, coworker drama, and friendship troubles. Characters can be pulled in one direction by what a person wants while the plot pulls them another way. There are infinite ways people can complicate the protagonist’s life and make reaching the goal harder, but these subplots help the reader learn more about the main character by how he reacts to these situations.
7. Complicating Subplots
Though all subplots are supposed to complicate the story, this one is especially troublesome. Complicating subplots is when the actions of either a secondary character or the protagonist result in conflict that impedes the main plot. The main character can make a mistake that puts him further from the goal by creating a new conflict to overcome. A secondary character can go after her own goal in a way that make it harder for the protagonist to reach his goal. This subplot is less about the people making trouble (like in the relationship subplot) and more about an action creating a new conflict to overcome. Complication subplots are great for building tension and raising stakes.
Final Thoughts
In real life people deal with more than one problem at once, and it should be the same for your protagonist. We all have a goal in life that gets pulled and pushed around by other things and people. Create that same situation in your character’s life by adding subplots. There is no specific number you must have in order to write a successful book, but make sure you put in a handful to make it feel realistic.
My last tidbit is to make sure you actually make these subplots a plot line—not a plot dot. These should be continuous problems throughout the book. Just like the main plot, subplots must have a beginning, middle, and end. They don’t need to be as complicated at the main plot, but don’t just make them one or two scenes. They need to have an arc in order for them to work.
Thanks for reading!
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