I’m wondering, how do I come up with good ideas to write a sub-plot that actually fits into the story and won’t make the reader lose the connection with the main plot?
If you look back on every single bestselling book ever printed, the chances are that most, if not all of them, contain sub-plots.
A sub-plot is part of a book that develops separately from the main story, and it can serve as a tool that extends the word count and adds interest and depth into the narrative.
Sub-plots are key to making your novel a success, and, although they aren’t necessary for shorter works, are an essential aspect of story writing in general.
However, sub-plots can be difficult to weave into the main plot, so here are a few tips on how to incorporate sub-plots into your writing.
1. Know Your Kinds of Sub-Plots and Figure Out Which is Best For Your Story
Sub-plots are more common than you think, and not all of them extend for many chapters at a time.
A sub-plot doesn’t have to be one of the side characters completely venturing off from the main group to struggle with their own demons or a side quest that takes up a quarter of the book. Small things can make a big difference, and there are many of these small things that exist in literature that we completely skip over when it comes to searching for sub-plots.
Character arcs are the most common sub-plot.
They show a change in a dynamic character’s physical, mental, emotional, social, or spiritual outlook, and this evolution is a subtle thing that should definitely be incorporated so that the readers can watch their favorite characters grow and develop as people.
For example, let’s say that this guy named Bob doesn’t like his partner Jerry, but the two of them had to team up to defeat the big bad.
While the main plot involves the two of them brainstorming and executing their plans to take the big bad down, the sub-plot could involve the two getting to know each other and becoming friends, perhaps even something more than that.
This brings me to the second most common sub-plot:
Romance can bolster the reader’s interest; not only do they want to know if the hero beats the big bad guy, they also want to know if she ends up with her love interest in the end or if the warfare and strife will keep them apart.
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Like character arcs, romance occurs simultaneously with the main plot and sometimes even influences it.
There are two types of side-quest sub-plots, the hurtles and the detours.
Hurdle sub-plots are usually complex and can take a few chapters to resolve. Their main purpose is to put a barrier, or hurdle, between the hero and the resolution of the main plot. They boost word count, so be careful when using hurdle sub-plots in excess.
Think of it like a video game.
You have to get into the tower of a fortress to defeat the boss monster.
However, there’s no direct way to get there; the main door is locked and needs to have three power sources to open it, so you have to travel through a monster-infested maze and complete all of these puzzles to get each power source and unlock the main door.
Only, when you open the main door, you realize that the bridge is up and you have to find a way to lower it down and so forth.
Detour sub-plots are a complete break away from the main plot. They involve characters steering away from their main goal to do something else, and they, too, boost word count, so be careful not too use these too much.
Taking the video game example again.
You have to get to that previously mentioned fortress and are on your way when you realize there is an old woman who has lost her cattle and doesn’t know what to do.
Deciding the fortress can wait, you spend harrowing hours rounding up all of the cows and steering them back into their pen for the woman.
Overjoyed, the woman reveals herself to be a witch and gives you a magical potion that will help you win the fight against the big bad later.
**ONLY USE DETOUR SUB-PLOTS IF THE OUTCOME HELPS AID THE PROTAGONISTS IN THE MAIN PLOT**
If they’d just herded all of the cows for no reason and nothing in return, sure it would be nice of them but it would be a complete waste of their and the readers’ time!
2. Make Sure Not to Introduce or Resolve Your Sub-Plots Too Abruptly
This goes for all sub-plots. Just like main plots, they can’t be introduced and resolved with a snap of your fingers; they’re a tool that can easily be misused if placed into inexperienced hands.
Each sub-plot needs their own arc and should be outlined just like how you outlined your main plot.
You could use my methods suggested in the linked post, or you could use the classic witch’s hat model if you feel that’s easier for something that’s less important than your main storyline.
If you don’t think your story needs a sub-plot, don’t add a sub-plot! Unneeded sub-plots can clutter up your narrative and make it unnecessarily winding and long.
You don’t have to take what I’m saying to heart ever!
It’s your story, you write it how you think it should be written, and no one can tell you otherwise!
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