Subplot Sanity

By Amy Deardon

I always found subplots confusing, so I took some time to look into them. 

We all know that subplots add depth and richness to a straight narrative. However, creating subplots can be REALLY HARD to imagine. One reason I believe this is so, ultimately, is that several types of story narratives are conflated into the term “subplot.” If you can separate out these story types, you’re set. 

Stories can be thought of as having five distinct narrative strands that coordinate to showcase your STORY MESSAGE.

The first is the A Strand, the Main Story. This is the central plot, so technically it is not a subplot but follows your hero’s outward journey—the thing he or she is trying to accomplish in the story world. This strand is built on a clear story goal, meaningful stakes, and strong opposition. Your hero wants something concrete and faces real trouble in getting it. That is the engine that pulls the story forward. 

The B Strand is what I like to call the Hidden Need. This is your hero’s personal weakness or wound—the fear, pride, selfishness, or false belief that is hurting others as well as the hero and that he needs to solve. This weakness should affect other people, not just the protagonist.

The hidden need is best solved by the hidden need triplet (HNT) sequence, occurring usually right after the midpoint. In the HNT there are three quick scenes in which the hidden need is demonstrated, solved, then shown to be solved. 

The HNT focuses your story’s emotional power, showing how your hero transforms in response to story events that make him (usually) a better person. I found in my studies of film (simpler than novels for story structure) that the HNT was the single most important factor to determine if a story went on to generate a sequel (a measure of story success).

The C Strand is the Antagonist or Obstacle Strand. This includes whatever is fighting against your protagonist’s goals—an actual villain, a rival, a difficult family member, a system, a disaster, or a series of painful complications. Even if your story is not villain-centered, it helps to have the opposition feel focused and intentional.

It’s important to remember that the antagonist has his own story that makes sense to him, with a goal, reasons, and pressures. When the reader understands the conflict from both sides, the story grows stronger. 

The D Strand is the Gift at Climax. This is the setup that keeps your ending from feeling convenient. Readers will follow surprising twists, but they do not love a rescue that drops from the sky with no preparation. If your hero will need a tool, ally, skill, or key piece of information at the climax, plant it earlier. That way, the payoff feels earned instead of lucky. 

Finally, there is the E Strand, or the Protagonist’s Mirror. The mirror character is often what we think of as “the subplot.” A mirror character also faces the hero’s core issue in some way, but he handles it differently, and usually in a worse way. That raises the stakes for the hero and reinforces the main story instead of drifting away from it. 

For creating subplots, the good news is that you do not need to randomly generate a dozen to create a layered novel. Simpler is often stronger to reinforce your STORY MESSAGE that you are trying to get across in your writing. One clear line for each of these strands is usually plenty.

When done deliberately, subplots feel rich, connected, and delightfully tangled. Your writing will amaze you!

Amy Deardon is a story analyst and story coach. She also helps authors to self-publish where they keep all rights, profits, and control of their own work. 

For helpful free articles and her amazing Death-by-Chocolate Brownie recipe, visit Amy’s website at www.amydeardon.blog/free-downloads.