 Hello, hello, writers. I'm Christine Kiefer, author of fantasy fiction and creative writing resources, and you are listening to the Well-Sturried podcast, where I share insights, encouragement, and actionable advice designed to help you craft sensational novels and build your best writing life. Always in 30 minutes or less, so you can get back to writing, of course. Ready for the show? Let's get talking. Hello, writers, and welcome or welcome back to the Well-Sturried podcast. I'm your host, Christine Kiefer, and today is Thursday, October 29, 2020. Today's episode is titled The Do's and Dots of Crafting Subplots, and if you'd like to read along as you listen in, you can find the episode transcript at well-sturried.com-subplots. Now let's dive in. Subplots are a story element that many writers misunderstand. Often, subplots are defined as secondary plot lines in a story. While this definition isn't incorrect, it also isn't complete, and this oversimplification can lead writers to use subplots in misguided ways, such as needlessly lengthening or complicating their stories in the pursuit of better storytelling. While subplots can make stories longer and more complex, these results should be byproducts of effective secondary plot lines rather than one's reason for writing them. Like any good story element, subplots should serve a strong narrative purpose. The most effective subplots are those that exist because they must, because to nix the plot line would be to craft a narrative that feels insincere, half-baked, or unresolved. Good subplots aren't just subordinate story lines. They're secondary conflicts that arise from characters' actions and reactions as they engage with the story's central conflict. Subplots typically revolve around a story's secondary cast of characters, but events in the main character's journeys can also produce integral secondary conflicts. What types of subplots are commonly found in fiction? Though a secondary conflict of any nature can serve a powerful role in your story, most subplots tend to fall into one of the following categories. First up, a mirror subplot, in which a secondary character experiences a conflict that mirrors the protagonist's primary dilemma, wittingly or unwittingly providing the protagonist with the insight or motivation they need to resolve their own conflict. For example, in Holes by Louis Sakaar, Elia Yelnats breaks his promise to carry Madame Zaroni up the mountain, cursing himself and his family. The protagonist, Stanley, later breaks the family curse by carrying his friend Zero, also known as Hector Zaroni, up the mountain called God's Thumb. The second type of subplot is the Romantic subplot, in which the protagonist's relationship with a love interest complicates their journey to resolve the story's central conflict. For example, when Capitol citizens decide that Katniss and Peta would make a handsome couple, the pair must engage in a false romance to better ensure their survival in the Hunger Games. The third type of subplot is the Parallel subplot, in which a seemingly unrelated plotline occurs in tandem with the main story until the two finally collide in exhilarating fashion. Alternatively, a parallel subplot might show readers the story's central conflict through the eyes of a secondary character, showcasing two sides of the same story. For example, as Frodo and Sam journey to Mordor, the remaining members of the Fellowship experience journeys that lead them to wage war on Zaron, ultimately enabling Frodo and Sam to reach Mount Doom. Fourth, we have the complicating subplot, in which a secondary character's actions complicate the protagonist's experience with the story's central conflict. Alternatively, a protagonist's mistake may result in a secondary conflict that complicates their own journey. For example, when Lydia runs away with Mr. Wickham, Darcy determines to find the couple to atone for his past mistakes and prove his affection for Elizabeth. These events force Lizzie to confront her unkind opinion of Darcy's character. The fifth type of subplot is the foil subplot, in which a secondary character experiences a dilemma similar to the main character's journey, but strives to resolve the conflict in a different way, a contrast or foil that highlights the protagonist's qualities and characteristics. For example, Hamlet, Fortenbras, and Liardies all seek to avenge their father's deaths, but where Fortenbras and Liardies seek physical retribution, Hamlet crafts a play designed to publicly humiliate and shame his murderous uncle. Finally, the sixth type of subplot is the book end subplot. This is a small secondary conflict introduced early in the story that remains largely untouched until after the central conflict concludes. Having been changed by their journey, the protagonist can now resolve this secondary conflict, often cementing their transformation and establishing their new normal. For example, Samwise Ganji is too afraid to ask Rosie Cotton to dance before he leaves the Shire with Frodo. When he finally returns a braver hobbit, he discovers he has the courage to pursue Rosie's hand. How can subplots lend depth to your story? Though they're not strictly essential, subplots are often integral to a story's success because they put meat on the bones of the story's central conflict. What exactly do I mean? Here are 10 ways that a strong secondary plot line can lend depth to your story's narrative. First, it can enrich characterization. Subplots can reveal new information about a story's main characters, lend depth to otherwise one-dimensional secondary characters, and or showcase nearly any character in new and revealing lights. Secondly, subplots can lend a central context. They can divulge information that readers need to know to better understand the full scope of a story's central conflict. Thirdly, they can establish motivation. Subplots can showcase the reasons your characters are so determined to achieve their goals. Fourth, subplots can exacerbate internal conflict. They can explore the internal and relational conflicts that further complicate characters' journeys. Fifth, subplots can build suspense. They can foreshadow future events and create a sense of dramatic irony, revealing information that puts unwitting characters in danger. Six, they can reinforce theme. Subplots can highlight alternative viewpoints and experiences that further expound upon a story's themes. Seventh, they can raise stakes by introducing secondary conflicts or divulging information that raises the stakes in the story's central conflict. Eighth, subplots can reveal backstory. They can reveal the events and experiences that shaped your characters into the people they are today. Ninth, subplots can expand your story world by exploring secondary characters, conflicts, and settings left unexamined in the main plot line. And finally, they can moderate pace and tone. Subplots can control the pace of a story by introducing scenes designed to build or release tension. And similarly, subplots can also moderate tone by imparting some much-nated levity or gravity. With a much stronger understanding of subplots in place, how can you develop effective subplots for your story? Secondary plot lines often emerge naturally as you craft your story's central conflict, but you can create subplots from scratch should the need arise. Either way, here are three key tips to bear in mind as you develop your story's secondary plot lines. Firstly, your subplot must serve a narrative purpose. I cannot stress this enough. Effective subplots are integral to a story's central conflict. If you can remove a subplot from your manuscript without gravely impacting your story's central conflict, then your subplot likely doesn't serve a strong narrative purpose. When developing subplots, be honest about whether the secondary plot line truly adds to the overall success of the story you're trying to tell. How does it lend depth and clarity to your main character's journeys? Length and complexity be damned, my friend. If you're adding a subplot to your story to increase word count, ask yourself whether the story is truly incomplete without those words. Better a succinct novella than a novel full of fluff. If you're hoping a subplot will make your story more complex, then consider whether your story truly lacks the necessary tension to engage readers without that added plot line. Needless complexity can easily make a story convoluted. Secondly, remember that a subplot is still a plot. A secondary plot line is more than just a quick event or conversation. It's a narrative arc that needs its own beginning, middle, and end. Develop your story's subplots accordingly, paying special attention to the character's goals, motivations, and the conflicts they'll experience, that is the GMC we discussed in our most recent episode. Finally, tip number three, make sure your subplot knows its place. A good subplot doesn't steal the limelight. If you or your beta readers find that your story's secondary plot lines are more interesting than its main events, then it may be time to consider the structure of your story. Think you know just the secondary plot line to lend depth and power to your story's narrative? Go ahead and weave that subplot into your manuscript, my friend. With purpose in mind, you'll craft a deliciously engaging novel that readers won't soon forget. Thank you for listening to today's episode of the podcast writer. I hope you found it helpful to your writing journey. If so, make sure to subscribe to the podcast so you never miss a new episode, and to give the podcast a quick rating or review. Doing so goes a long way toward helping the podcast reach new writers and lets me know that you're enjoying what I'm creating. You can also give me a shout out directly on Instagram at christen underscore keeper. For additional guidance as you work to craft sensational novels and build your best writing life, be sure to head on over to www.well-storied.com where I share blog posts, workbooks, e-courses, and other helpful resources for writers. Again, that's w-e-l-l-s-t-o-r-i-e-d.com. Thank you again for tuning into today's episode, my friend. Until next time, happy writing!